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244419
The Connoisseur
AN ILLUSTRATED MAGAZINE
FOR COLLECTORS
EDITED BY
L. G. G. RAMSEY, f.s.a.
VOL. 169
(SEPTEMBER - DECEMBER, 1968)
LONDON
Published by THE NATIONAL MAGAZINE CO. Ltd.
CHESTERGATE HOUSE, VAUXHALL BRIDGE ROAD, LONDON, S.W.i
1968
INDEX
244419
ARTICLES AND NOTES
(Art.) denotes Article
A RTICLES AND NOTES page
Abbey of St. Gall and its library, The, Part 2, The Manuscripts, by Walter de
Sagcr(Art.) 78
Ackermann's — see Fine Sporting Pictures
Admirable Millais, An, by Adrian Bury (Note) . . . . 173
African Tribal Images, by Joseph T. Butler (Note) .. .. .. 133
Age of empire and rebellion: the New Kingdom in Boston, The, by Edward
L. B. Terrace (Art.) 49
American Art at the XXXIV Venice Bicnnalc, by Joseph T. Butler (Note) 200
American Artist Abroad, The, by Joseph T. Butler (Note) . . . . . . 269
American banking and Georgian elegance. 88 Brook Street, London, by
Clifford Musgrave(Art.) .. .. .. .. ..69
American Collection, An: The Roy R. Neubcrger Collection, by Joseph T.
Butler (Note) . . . . . . . . . . . . . . . . 270
American museums — see Textiles tor
American way with art, by Joseph T. Butler (Notes) . . 65, 133, 200, 268
Art at the United Nations Headquarters, by John FitzMauricc Mills (Art.) . . 263
Art in the Modern Manner, by Alastair Gordon (Notes) 38, 104, 174, 240
Art news in pictures . . . . . . . . . . 33, 110, 178, 243
Art of the Goldsmith and the Jeweller, The, by Joseph T. Butler (Note) . . 203
Arts of Japan, by Joseph T. Butler (Note) .. .. .. .. .. 65
Augsburg, Baroque Art at, by Walter de Sager (Art.) . . . . . . . . 30
Augsburg. Bavarian Baroque, by Gerald Schurr (Note) .. .. .. 106
Baden-Baden. The latest Picassos, by Gerald Schurr (Note) .. .. 106
Baltimore Museum of Art — see Greco to Pollock
Ditto — see Maryland Queen Anne and Chippendale Furniture
Barbieri, Francesco — see Gucrcino at Bologna
Barker of Bath — Towne of Liverpool, by Adrian Bury (Note) . . 239
Baroque — see Augsburg. Bavarian
Baroque Art at Augsburg, by Walter de Sager (Art.) . . . . . . . . 30
Baroque Images ot Antiquity — see Gods and Heroes
Baudelaire Celebrations in Paris, by Gerald Schurr (Note) .. .. .. 242
Bauhaus, The remarkable story of the, by William Gaunt (Art.) . . . . 157
Bavarian Baroque — see Augsburg
Beckmann, Max — see From Munich to Brussels
Bellier, Galerie Jean-Claude — see Paris. Woman, from David to Picasso
Belmont, Thomas Harris, Gainsborough Dupont and the Theatrical Gallery
at, by John Hayes (Art.) .. .. .. .. .. .. .. 221
Bernini bust of Charles I to England, The journey of the, by R. W. Light-
bown (Art.) .. .. .. .. .. .. ..217
Bicnnalc des antiquaires a Paris (Notes) .. .. .. .. .. 34
Bivall's Gallery, Mr. Bernard — see Roberts, David, Etty, Etc.
Bologna — see Guercino at
Book Production Notes, by Ruari McLean .... .. 183
Books Received . . . . . . . . . . . . . . 48, 1 16, 184, 252
Books Reviewed . . . . . . . . . . . . 46, 114, 182, 250
Boston, Mass., Museum of Fine Arts — see Age of empire and rebellion
Ditto — see Urbanity and verism
Bouvier, Mine — see Paris. Treasures for the Musec Carnavalet
Britain — see Romantic Art in
British Museum, M. de Haukc and the, by William Gaunt (Art.) . . . . 228
British Sculpture, by Adrian Bury (Note) .. .. .. .. .. 103
Brno. Paintings under glass trom the sevententh to the nineteenth century,
by Gerald Schurr (Note) .. .. .. .. .. .. ..106
Brod Gallery, by Adrian Bury (Note) .. .. .. .. .. .. 103
Bronzes in New York, French (Art.) .. .. .. .. .. 194
Brook Street, London. American banking and Georgian elegance. 88, by
Clifford Musgrave (Art.) . . . . . . . . . . . . 69
Brooklyn Museum — see Chess: East and West, Past and Present
Brussels — see from Munich to
Buontalcnti and the dragon theme. Some Florentine jewels, by Yvonne
Hackenbroch (Art.) .. .. .. .. .. .. ..137
Cabinet painted by Van Dyck's first master, A Flemish, by Andrew Graham
(Art.) •• ..213
Cabinetmakers, A concise guide to Savannah furniture and, by Charlton M.
Theus(Art.) 124
Cadmus, Paul — Prints and Drawings, by Joseph T. Butler (Note) .. .. 13 s
Canada, Jordaens, and, by Jean Sutherland Boggs( Art.) .. .. .. 253
Cape Dorset — see Eskimo Art of
Carnavalet, Musee — see Paris. Treasures for the
Articles and Notes — continued page
Ceramic sculptor. A Tinworth Diary. Doulton's, by Geoffrey A. Godden
(Art.) 232
Cerro restored. Piedmont home of Mr. and Mrs. A. T. F. McNeill, Villa, by
Clifford Musgrave (Art.) . . . . . . . . . . . . 1
Charles I to England, The journey of the Bernini bust of, by R. W. Light-
bown(Art.) .. .. .. .. .. .. .. .. 217
Chess: East and West, Past and Present, by Joseph T. Butler (Note) . . . . 65
Chicago, Art Institute of — see Dada, Surrealism
Clarence tomb. Alfred Gilbert: a new assessment, Part 2: the, by Lavinia
Handley-Read(Art.) 85
Clarges Gallery — see Oils and Watercolours
Collections, Warrington revives its, by Denis Thomas (Art.) .. .. 162
Commode, A painted neo-classical, by E. T.Joy (Art.) 166
Concise guide to Savannah furniture and cabinet-makers, A, by Charlton
M. Theus(Art.) .. ..124
Connecticut furniture reconsidered, by Marvin D. Schwartz (Review) 62
Continental Dispatch, by Gerald Schurr (Notes) . . . . 40, 106, 176, 242
Coopse, Pieter — see Dutch Victory
Couturier, Mes — see Growing interest in medals
Crome — see Influence of
Dada, Surrealism, and their Heritage, by Joseph T. Butler (Note) .. .. 134
Dallas, Texas, Museum of Fine Arts — see Tobcy, Mark
Detroit (Michigan) Institute of Arts — see Romantic Art in Britain
Dogs, Unrecorded Lowestoft pug, by Sheenah Smith (Art.) .. .. 164
Doulton's ceramic sculptor. A Tinworth Diary, by Geoffrey A. Godden
(Art) 232
Drouot, Hotel — see Growing interest in medals
Duisburg. Young German sculpture, by Gerald Schurr (Note) . . . . 41
Dupont and the Theatrical Gallery at Belmont, Thomas Harris, Gains-
borough, by John Hayes (Art.) .. .. .. .. .. 221
Dutch Masters and Others, by Adrian Bury (Note) 238
Dutch Victory, by Adrian Bury (Note) . . . . . . . . . . 239
Dyck's first master, A Flemish cabinet painted by Van, by Andrew Graham
(Art.) 213
Elizabethan ale glasses, A find of, by Ivor Noel Hume (Art.) .. .. 259
English Silver, at Garrards, The Crown Jewellers, Five centuries of (Art.) . . 28
English Silver. The Times-Sotheby Index: 3, by Geraldine Keen, with the
assistance of Charlotte Prest and Ian Bennett (Art.) .. .. .. 235
Eskimo Art of Cape Dorset, by Joseph T. Butler (Note) .. .. .. 271
Essex resuscitated, An old house in, by Alec Clifton-Taylor (Art.) .. .. 152
Etty — see Roberts, David
Europe around 19 1 8 — see Strasbourg
European Painters of Today — see Paris — New York
Expressionism — see Ghent. German
Faience of Provence — see Nice
Favrile pottery, Tiffany, by Martin P. Eidelberg . . . . . . . . 57
Ferguson, William Gow — see Leger Galleries
Florentine jewels, Some. Buontalcnti and the dragon theme, by Yvonne
Hackenbroch (Art.) .. .. .. .. .. .. .. 137
Find ot Elizabethan ale glasses, A, by Ivor Noel Hume (Art.) . . . . . . 259
Fine Art Society — see British Sculpture
Fine Sporting Pictures, by Adrian Bury (Note) .. .. .. .. 102
Five centuries of English Silver, at Garrards, the Crown Jewellers (Art.) . . 28
Flemish Cabinet painted by Van Dyck's first master, A, by Andrew Graham
(Art.) 213
French bronzes in New York (Art.) .. .. .. .. .. .. 194
From Munich to Brussels, by Gerald Schurr (Note) . . . . . . 242
Fry Gallery — see Unknown and Known
Furniture — see Maryland Queen Anne and Chippendale
Furniture and cabinetmakers, A concise guide to Savannah, by Charlton M.
Theus(Art.) .. .. .. .. .. .. .. ..124
Furniture reconsidered, Connecticut, by Marvin D. Schwartz (Review) . . 62
Furniture, 1 660-1 820, its relationship with English styles, Norwegian, by
E.T.Joy (Art.) 18
Gallard, Michel de — see Lefevre Gallery
Garrards, the Crown Jewellers, Five centuries of English Silver, at (Art.) . . 28
Genius with Ruins, by Adrian Bury (Note) . . . . . . 37
Georgian elegance. 88 Brook Street, London. American banking and, b
Clifford Musgrave (Art ) . . . . . . . . . . . . 69
iii
INDEX
Articles and Notes continued
PAGE Articles and Notes — continued
German Expressionism sir Ghent
German sculpture — see Duisburg. Young
Cihent. German Expressionism, by Gerald Schurr (Note) .. .. .. 106
Gilbert, Alfred — see British Sculpture
Gilbert, Alfred: .1 new assessment. Part 1: the small sculptures, by Lavinia
Handlcy-Rcad (Art.) 22
Ditto — Part 2 : the Clarence tomb (Art.) .. .. .. 8j
Ditto — Part 3 : the later statuettes (Art.) . . . . 144
Glass — ,«r Brno. Paintings under
Glasses, A find of Elizabethan ale, by Ivor Noel Hume (Art.) .. .. 259
Gods and Heroes: Baroque linages of Antiquity, by Joseph T. Butler (Note) 200
Goldsmith and the Jeweller— see Art of the
Graham, The Work of John D., by Joseph T. Butler (Note) .. .. .. 270
Greco to Pollock, From El : Early and late Works by European and American
Artists, by Joseph T. Butler (Note) .. .. .. .. .. 202
Green, Richard, Gallery — see Genius with Rums
Greuze Portraits, by Adrian Bury (Note) . . . . . . . . 172
Growing interest in medals, A, by Gerald Schurr (Note) .. .. .. 107
Guatemala — see Paris. Maya art of
Guercino at Bologna, by Gerald Schurr (Note) .. .. .. .. 176
Harris, Gan.sborough Dupont and the Theatrical Gallery at Belmont,
Thomas, by John Hayes (Art.) .. .. .. .. .. .. 221
Hauke and the British Museum, M. de, by William Gaunt (Art.) .. .. 228
Hazlitt Gallery, by Adrian Bury (Note) . . .. .. .. .. .. 37
Heim Gallery, by Adrian Bury (Note) .. .. .. .. .. ..172
Hilton Hotel at Orly — see New exhibition room
Historic Sequence, by Adrian Bury (Note) .. .. .. .. ..173
House in Essex resuscitated, An old, by Alec Clifton-Taylor (Art.) 152
Important New Installation at The New-York Historical Society, An, by
Joseph T. Butler (Note) 268
Impressionist Pictures. The Times-Sotheby Index: 1, by Geraldine Keen,
with the assistance of Charlotte Prest and Ian Bennett (Art.) .. .. 98
In Brief (Notes) .. .. .. .. .. .. 33, no, 178,243
In the Galleries, by Adrian Bury (Notes) . . . . 36, 102, 172, 238
In Memorium — Mrs. Alma de Bretteville Spreckels, by Joseph T. Butler
(Note) 202
'Influence of Crome, The', by Adrian Bury (Note) . . . . . . . . 102
Institute of Contemporary Arts — see Art in the Modern Manner .. .. 174
International Saleroom (Notes) .. .. .. .. 43, III, 179,246
"Introductory paragraph concerning American painting, by foseph T. Butler
(Note) . . 268
Japan — see Arts of
Jeweller — see Art of the Goldsmith and the
Jewels, Some Florentine. Buontalenti and the dragon theme, by Yvonne
Hackenbroch (Art.) .. .. .. .. .. .. .. 137
Jordaens, and Canada, by Jean Sutherland Boggs (Art.) .. .. .. 253
Journey of the Bernini bust of Charles I to England, The, by R. W. Light-
bown (Art.) . . . . . . . . . . . . . . 217
Kaplan Gallery — see Lauge, Achille
Keirincx — see Van Balen
Kelmscott, William Morris's holiday home, by A. R. Dufty (Art.) .. .. 205
Knoedler's, New York — see French bronzes
Koetser, Brian, Galleries — see Dutch Masters and Others
Lauge, Achille, by Adrian Bury (Note) . . . . . . . . . . 36
Lefevre Gallery by Adrian Bury (Note) . . .. .. .. .. .. 239
Leger Galleries — see Admirable Millais
Leger Galleries, by Adrian Bury (Note) . . . . . . . . . . 103
Leggatt's, At Messrs., by Adrian Bury (Note) .. .. .. .. .. 103
Library, The Abbey of St. Gall and its. Part 2, The Manuscripts, by Walter
de Sager (Art.) 78
Lincoln Graphic Galleries — see Barker of Bath
Liverpool — see Towne, Charles
Louvre — see Paris. Re-opening of the Grande Galerie of the
Lowestoft pug dogs, Unrecorded, by Sheenah Smith (Art.) .. .. .. 164
Lowndes Lodge Gallery — see Influence of Crome
McNeill, Villa Cerro restored. Piedmont home of Mr. and Mrs. A. T. F., by
Clifford Musgrave (Art.) .. .. 1
Malan, Solomon Caesar, artist, scholar, theologian, by Philip Traub (Art.) . . 92
'Man and His World' in Montreal, by Joseph T. Butler (Note) . . 66
Maryland Queen Anne ami ( liippendale Furniture of the Eighteenth Cen-
tury, by Joseph T. Butler (Note) .. .. .. .. .. 66
Maya art of Guatemala — see Pans
Medals — see Growing interest in
Metropolitan Museum. Snakes, snails and creatures with tails. Palissy ware
in the, by Carl Christian Dauterman (Art.) .. .. ..185
Millais— see Admirable
Mitchell, )olm, Gallery — sec Towne, Charles, of Liverpool
Monnaies, I lotel des- see Paris: The pleasures of Numismatics
Montreal, 1 )ominion ( iallery — .«■<■ "Man and His World'
Moore, Henry, a 1968 assessment, by John FitzMaurice Mills (Art.) .. .. 108
Morris's holiday home, Kelmscott, William, by A. R. Dufty (Art.) .. .. 205
Munich in Brussels — sec From
Museum enlarged — see Rouen
Museums — see Textiles for American
National Gallery of Canada, Ottawa — see Eskimo Art of Cape Dorset
Ditto — see Jordaens and Canada
Ditto — see Rosenquist, James
Neo-classical commode, A painted, by E. T.Joy (Art.)
Neuberger Collection, The Roy R. — see American Collection
New exhibition room, A. The Hilton Hotel at Orly, by Gerald Schurr
(Note)
New Kingdom in Boston, The age of empire and rebellion: the, by Edward
L. B. Terrace (Art.)
New York — see Paris —
New York City, A la Vicille Russie — see Art of the Goldsmith and the
Jeweller
New York City, Kennedy Galleries — see American Artist Abroad
New York, French bronzes in (Art)
New-York Historical Society — see Important New Installation
New York, Midtown Galleries — see Cadmus, Paul
New York, Museum of Modern Art — see Graham, The Work of John D.
New York, Wildenstein Gallery — see Gods and Heroes
Newark, New Jersey, Museum — see Arts ofjapan
Newly discovered Sickert, A, by Lillian Browse (Art.)
Newman Galleries — see Paris Preserved
Nice. Faience of Provence, by Gerald Schurr (Note) ..
Noguchi, Isamu, by Joseph T. Butler (Note)
Norwegian furniture, .1660-1820, its relationship with English styles, by
E.T.Joy (Art.)
Numismatics — see Paris: The pleasures of
O'Hana Galleries — see 'Women'
Oils and Watercolours, by Adrian Bury (Note)
Old house in Essex resuscitated, An, by Alec Clifton-Taylor (Art.) . .
Old Master Galleries, by Adrian Bury (Note)
O'Nians, Gallery, Hal — see Van Balen, Keirincx
Orly — see New exhibition room
Painted neo-classical commode, A, by E. T.Joy (Art.) . .
Painting from Nature, by Adrian Bury (Note)
Paintings under glass — see Brno
Palissy ware in the Metropolitan Museum. Snakes, snails and creatures with
tails, by Carl Christian Dauterman (Art.)
Pannini, Giovanni Paolo — see Genius with Ruins
Paris, Biennale des antiquaires a (Notes)
Paris. A glance at the June salerooms, by Gerald Schurr (Note)
Paris. Maya art of Guatemala, by Gerald Schurr (Note)
Paris, Musee de Petit Palais — see Baudelaire Celebrations in Paris
Paris — New York. European Painters of Today, by Gerald Schurr (Note) . .
Paris: The pleasure of Numismatics, by Gerald Schurr (Note)
Paris Preserved, by Adrian Bury (Note)
Paris. Re-opening of the Grande Galerie of the Louvre, by Gc;rald Schurr
(Note)
Paris. Treasures for the Musee Carnavalet, by Gerald Schurr (Note)
Paris. Woman, from David to Picasso, by Gerald Schurr (Note)
Patterson's Gallery, Mr., by Adrian Bury (Note)
Pennsylvania Museum, University of, Philadelphia — see African Tribal
Images
Philadelphia (Pennsylvania) Museum of Art — see Romantic Art in Britain
Picassos — see Baden-Baden, The latest
Piedmont home of Mr. and Mrs. A. T. F. McNeill, Villa Cerro restored, by
Clifford Musgrave (Art.)
Pollock — see Greco to
Pottery, Tiffany favrile, by Martm P. Eidelberg
Prints, Old Master. The Times-Sotheby Index: 2, by Geraldine Keen, with
the assistance of Charlotte Prest and Ian Bennett (Art.)
Problems and solutions : 1 1 . by John FitzMaurice Mills (Art.)
Provence, Faience of — see Nice
Pyne, James Baker — see Leger Galleries
Remarkable story of the Bauhaus, The, by William Gaunt (Art.)
Roberts, David, Etty, Etc., by Adrian Bury (Note)
Rodin — see Zagreb. A tribute to
Romantic Art in Britain, by Joseph T. Butler (Note)
Rosenquist, James, Retrospective, by Joseph T. Butler (Note)
Rouen. The Museum enlarged, by Gerald Schurr (Note)
Rueil-Malmaison. The empire periods revived, by Gerald Schurr (Note)
Rutland Gallery — see Historic Sequence
St. Gall and its library, The Abbey of. Part 2, The Manuscripts, by Walter de
Sager (Art.)
Salerooms — see Pans. A glance at the June
Sanz, Checa y — see Paris Preserved
Savannah furniture and cabinetmakers, A concise guide to, by Charlton M.
Theus (Art.)
Sculpture — see British
Ditto — see 1 Hnsburg. Young German
Serres, Dominic — see Historic Sequence
Sickert, A newly discovered, by Lillian Browse (Art.)
Silver, at Garrards, the Crown Jewellers, Five centuries of English (Art.)
Silver, English. The Times-Sotheby Index - 3, by Geraldine Keen, with the
assistanc e of Charlotte Prest and Ian Bennef(Art.)
Snakes, snails and creatures with tails. Palissy ware in the Metropolitan
Museum, by Carl Christian Dauterman (Art.) .. ..
Solly? Who was. Part 5: the distribution of the Collection, by Frank Hcrr-
111. 111 (Art.)
Some Florentine jewels. Buontalenti and the dragon theme, by Yvonne
Hackenbroch (Art.)
166
107
49
194
242
134
18
172
I S2
238
166
173
I85
34
41
41
177
40
36
177
177
176
172
57
168
165
157
239
133
67
107
40
78
124
9
28
^35
185
[37
INDEX
rticles and Notes — continued PAGr
Nink & Son's Galleries — see Painting from Nature
sorting Pictures — see Fine
ireckels, Mrs. Alma de Brettcville — see In Mcmorium
atuettes, Alfred Gilbert: a new assessment. Part 3: the later, by Lavinia
Handley-Read (Art.) 1 144
evens, Alfred — see British Sculpture
Krasbourg. Europe around 191 8, by Gerald Schurr (Note) .. .. .. 41
irrealism — see Dada
extiles for American museums (Notes) . . . . . . . . . . 267
leatrical Gallery at Belmont, Thomas Harris, Gainsborough Dupont and
the, by John Hayes (Art.) .. .. .. .. .. .. 221
.ffany favnle pottery, by Martin P. Eidclberg . . . . . . . . 57
imes-Sothcby Index, The, by Geraldine Keen, with the assistance of
Charlotte Prest and Ian Bennett,
1. Impressionist Pictures (Art.) .. .. .. .. .. .. 98
2. Old Master Prints (Art.) 168
' 3. English Silver (Art.) .. .. .. .. .. .. .. 23 5
mworth Diary, A. Doulton's ceramic sculptor, by Geoffrey A. Godden
(Art.) 232
obey, Mark, Retrospective, by Joseph T. Butler (Note) .. .. .. 67
omb. Alfred Gilbert: a new assessment, Part 2: the Clarence, by Lavinia
Handley-Read (Art.) 85
owne, Charles, of Liverpool, by Adrian Bury (Note) .. .. .. 102
owne of Liverpool — see Barker ot Bath
rafalgar Galleries — see Dutch Victory
reasures for the Musec Carnavalet — see Paris
nbal Images — see African
j-yon Gallery, The, by Adrian Bury (Note) .. .. .. .. .. 36
urncr Bequest, Watercolours from the, by Denis Thomas (Review) . . 244
nitcd Nations Headquarters, Art at the, by John FitzMaurice Mills (Art.) 263
nknown and Known, by Adrian Bury (Note) .. .. .. .. 37
nrecorded Lowestoft pug dogs, by Sheenah Smith (Art.) .. .. .. 164
ibanity and verism: the Late Period in Boston, by Edward L. B. Terrace
(Art.) 117
an Balcn, Keirincx, etc., by Adrian Bury (Note) .. .. .. .. 173
enice Biennale — see American Art at the
ilia Cerro restored. Piedmont home ot Mr. and Mrs. A. T. F. McNeill, by
Clifford Musgrave (Art.) . . . . . . 1
/arrington revives its collection, by Denis Thomas (Art.) .. .. .. 162
J atercolours — see Oils and
/atercolours from the Turner Bequest, by Denis Thomas (Review) . . 244
/ebb, James — see Legcr Galleries
/hittiey Museum of American Art — see Noguchi, Isamu
Vho was Solly? Part 5: the distribution of the Collection, by Frank Herr-
mann (Art.) .. .. .. .. .. .. .. .. 12
.'ildenstem Galleries — see Greuzc Portraits
i/oman, from David to Picasso — see Paris.
Women', by Adrian Bury (Note) . . . . . . . . . . 238
dung collector, For the (Notes) . . . . . . . . . . . . 42
agreb. A tribute to Rodin, by Gerald Schurr (Note) .. .. .. .. 106
.uthors and Contributors
ennett, Ian — see Keen, Geraldine
oggs, Jean Sutherland. Jordaens and Canada (Art.) .. .. .. .. 253
rowsc, Lillian. A newly discovered Sickert (Art.) . . . . . . . . 9
ury, Adrian. In the Galleries (Notes) . . . . 36, 102, 172, 238
utler, Joseph T. American way with art (Notes) . . 65, 133, 200, 268
".. . . , E. Review . . . . . . . . . . . . . . . . ..116
'...., E. L. Review .. .. .. .. .. .. .. .. 251
tlifton-Taylor, Alec. An old house in Essex resuscitated (Art.) .. .. 152
'-T. , . , A. Reviews . . . . . . . . . . . . 46, 115, 183
>auterman, Carl Christian. Snakes, snails and creatures with tails. Palissy
ware in the Metropolitan Museum (Art.) .. .. .. ..185
Kufty, A. R. Kelmscott, William Morris's holiday home (Art.) . . . . 205
R. Reviews . . .. .. .. .. .. .. .. 114,250
idelberg, Martin P. Tiffany favrile pottery (Art.) . . . . . . . . 57
taunt, William.
Haukc and the British Museum, M. dc (Art.) . . . . . . . . 228
Remarkable story of the Bauhaus, The (Art.) . . . . . . ..157
lodden, Geoffrey A. A Tinworth Diary. Doulton's ceramic sculptor (Art.) 232
lordon, Alastair. Art in the Modern Manner (Notes) . . 38, 104, 174, 240
iraham, Andrew. A Flemish cabinet painted by Van Dyck's first master
(Art.) 213
fl. . . , G. Review . . . . . . . . . . . . . . . . 47
D. .., J. Reviews .. .. .. .. .. .. .. .... 48,251
fl. .. ,J. F. Reviews .. .. .. .. .. .. .. 47,182
lackenbroch, Yvonne. Some Florentine jewels. Buontalenti and the dragon
theme . . . . . . . . . . . . . . . . 137
landley-Rcad, Lavinia.
Alfred Gilbert: a new assessment. Part 1 : the small sculptures (Art.) . . 22
Ditto — Part 2: the Clarence tomb (Art.) .. .. .. .. .. 85
Ditto — Part 3 : the later statuettes (Art.) .. .. .. .. ..144
iSayes, John. Thomas Harris, Gainsborough Dupont and the Theatrical
Gallery at Belmont (Art.) .. .. .. .. .. ..221
Icrrmann, Frank. Who was Solly? Part 5: the distribution o! Hie ' 'lection
(Art.) 12
Authors and Contributors — continual page
Hume, Ivor Noel. A find of Elizabethan ale glasses (Art.) .. .. .. <v
J. .., E. C. Review .. .. .. .. .. .. .. .. 2S2
J. . . , E. T. Review . . . . . . . . . . . . . . . . 48
joy, E. T.
Norwegian furniture, 1660-1820, its relationship with English styles (Art.) 18
Painted neo-classical commode, A (Art.) .. .. .. .. .. 166
Keen, Geraldine, with the assistance of Charlotte Prest and Ian Bennett. The
Times-Sothcby Index: 1. Impressionist Pictures (Art.) . . .. .. ';8
Ditto: 2. Old Master Prints (Art.) .. .. .. .. .. ..168
Ditto : 3. English Silver (Art.) .. .. .. .. .. .. . .235
Lightbown, R. W. The journey of the Bernini bust of Charles I to England
(Art.) 217
M. .., H. D. Review , 183
McLean, Ruari. Book Production Notes .. .. .. .. ..183
Mills, John FitzMaurice.
Art at the United Nations Headquarters (Art.) . . . . . . 263
Moore, Henry, a 1968 assessment (Art.) .. .. .. .. .. 108
Problems and solutions: 1 1 (Art.) .. .. .. .. .. .. 165
Musgrave, Clifford.
American banking and Georgian elegance. 88 Brook Street, London (Art.) 69
Villa Cerro restored. Piedmont home of Mr. and Mrs. A. T. F. McNeill
(Art.) .... .... ..I
Prest, Charlotte — see Keen, Geraldine
R. .., J. Review .. .. .. .. .. .. .. .. ..114
R. . . , W. Reviews . . . . . . . . . . . . . . 48, 1 16
S. . . , W.J. Reviews . . . . . . , . . . . . . . 15, 250
Sager, Walter de.
Abbey of St. Gall and its library, The, Part 2, The Manuscripts (Art.) . . 78
Baroque Art at Augsburg (Art.) . . . . . . . . . . . . 30
Schurr, Gerald. Continental Dispatch (Notes) .. .. .. 40,106,176,242
Schwartz, Marvin D. Connecticut furniture reconsidered (Review) . . 62
S-H. .., P. Review .. .. .. .. .. .. .. ..114
Smith, Sheenah, Unrecorded Lowestoft pug dogs (Art.) .. .. .. 164
T. . . , D. Review . . . . . . . . . . . . . . 46
Terrace, Edward L. B.
Age of empire and rebellion, The: the New Kingdom in Boston (Art.) . . 49
Urbanity and verism : the Late Period in Boston (Art.) .. .. .. 117
Theus, Charlton M. A concise guide to Savannah furniture and cabinet-
makers (Art.) .. .. .. .. .. .. .. .. 124
Thomas, Denis.
Warrington revives its collections (Art.) .. .. .. .. .. 162
Watercolours from the Turner Bequest (Review) . . . . . . . . 244
Traub, Philip. Solomon Caesar Malan, artist, scholar, theologian (Art.) . . 92
Books Received or Reviewed
Antiques Year Book, The British', by Philip Wilson .. .. .. ..116
Architecturology. An Interim Report", by I. M. Goodovitch .. .. 252
Armour. Oriental', by H. Russell Robinson .. .. .. .. ..116
Arms, Revolving', by A. W. F. Taylerson .. .. .. .. .. 48
Bartlett's West. Drawing the Mexican Boundary', by Robert V. Hine (l6
Beardsley', by Brian Reade, with an introduction by John Rothenstein . . 250
Beardsley, a biography', by Stanley Weintraub . . . . . . . . 250
'Beige, Introduction a la bande dessinee (Introduction to Belgian Strip
Cartoons), catalogue to an Exhibition of Belgian Strip Cartoons held
in the Bibliotheque Albert, Brussels .. .. .. .. ..183
'Blake, William', by Raymond Lister .. .. .. .. .. .. 48
'Bookbinding, An Album of Selected', by Clara Louise Penney .. .. 184
'Books, The Design of ', by Adrian Wilson .. .. .. .. .. 184
'Buckingham Palace', by John Harris, Geoffrey de Bellaigue and Oliver
Millar. Introduction by John Russell . . . . . . . . . . 252
'Carracci, The Lives of Annibale and Agostino', by Giovanni Pietro Bellori 184
'Cathedrals of England, The', by Alec Clifton-Taylor . .. .. ..115
'Catherwood, F. Architect-Explorer of Two Worlds', by Victor Wolfgang
von Hagen. Introduction by Aldous Huxley .. .. .. ..116
'Ceramics, Homespun', by Arlene and Paul H. Greaser .. .. .. 48
'Chippendale Furniture', by Anthony Coleridge .. .. .. .. 182
'Christmas', by William Sansom . . . . . . . . . . . . 252
'Clockmakers, Somerset', by J. K. Bellchambers . . . . . . . . 48
'Collecting Man, The', by John Bedford .. .. .. .. ..116
'Connecticut Furniture: Seventeen and Eighteenth Centuries', by John
T. Kirk and Henry P. Maynard . . . . . . . . . . . . 62
'Connoisseur's Complete Period Guides, The', edited by Ralph Edwards and
L. G. G. Ramsey .. .. .. .. .. .. ..116
'Crete, Ancient', by Stylianos Alexion, Nichaos Platon and Hanin Guanella 1 16
'Czech Painting, Modern, 1907-1917', by Miroslav Lamac .. .. tl6
'Davison of Alnwick, William. Pharmacist and Printer 1781-1858', by
Peter C. G. Isaac 184,252
'Delftware Pottery in the Robert Hall Warren Collection, English', by
Anthony Ray .. .. .. .. .. .. .. ..114
'Ecce Homo', by George Grosz. With an Introduction by Henry Miller 114
'Furniture, The Art of ', by Ole Wandscher .. .. .. .. .. 48
'Gardens, Modern Private", by Susan and Geoffrey Jcllicoe .. .. .. 48
'Gestochene Bilder, Gravierungen auf Dcutschen Goldschmied-arbciten der
Spatgotik', byjohann Michael Fritz . . . . . . . . . . 47
'Glass, English and Irish, A Guinness Signature', by Geoffrev Wills .. .. 178
'Glass, Old', by O. N. Wilkinson 184
v
INI MX
Books Received or Reviewed continual pagi
'( Ircecc, An lui< ', by I I lomann-Wedeking, translated by I R. Foster (An
of the World Series) .. .. 48
'Greek Coins and < itics', by Norman Davh .. .. .. •■ 48
'History by the Highway', by M D.Anderson .. .. .. 1 1 s
'House rhrough Seven ( enturies, ["he English', b> Olive Cook. Photo-
graphs b\ I'.dwin Smith .. .. .. .. .. 2S2
'Industrial U< .olution, Art and the', by Francis D. Klingendcr .. .. 116
'Interiors, Circ.it', by Ian Gram .. .. .. .. .. 4(>
'Islamii An hite< turc and its 1 >ei oration A.I >. X00-1 >oo', by I >crck I lill and
( )leg ( Iravar . . . . . . . . . . . . • . . . 47
'Japan irtsof'.by Scroka Noma .. .. .. .. ..1X4
'Japanese Design, Trad its in. Vol I Flowers & Birds Motifs', by H.
Arakwa . . . . . . . . . . . . . . 48
'(.ipanese Prints, ( ontcmporary', by Michiaki Kawakita. Translated by
|ohn Uestei . . . . . . . . . . . . 184, 2si
I andmarksol the W01 Id's Art.
'Ancient World, rhe', by Giovanni Garbini .. .. 4<>
'Baroque, The Age of ', by Michael Kitson .. .. .. .. 4'>
'Classical World, The', by Donald E Strong 46
'Early ( hristian and Byzantine World,' by Jean Lessus .. 46
'Islam, HieWorldol .byErnstJ Grubc .. .. .. .. ..4(1
'Medieval World' by Peter Kidson .. .. .. .. 4''
'Modern World, The', by Norbert Lynton .. 4<>
'( >i iental World, I he', In |eanine Auboyei and I >i Roger < loepper . . 4'>
'Prehistoric and P itivc Man', b) Andreas Lommel .. ..46
'Renaissance, Man and the', by Andrew Martindale. . .. .. 4''
Books Received or Reviewed loutimtcil PAGE
'Mexican Ait', by |ustino Fernandez (The Colour Library of Art Series) . . 116
'Munch, Edvard', by Gosta Svenacus .. .. .. .. .. .. 48
'Museums <>i Paris, The', by Raymond Charmet 1:6
'North America', by W Habcrland (Art of th; World Scries) .. 48
'Northampton and the Soke of Peterborough', by Juliet Smith 1 16
()ld restament', illustrated (Oxford University Press) 1X4
'Orders and Decorations', by Vaclav Mericka .. .. .. 252
'Paintings and Drawings at Wilton House', A Catalogue compiled by
Sydney, Earl of Pembroke .. .. .. .. 250
'Paperweights, Antique Glass', by Patricia K. McCawlcy .. .. .. 48
'Peeblesshire: An Inventory of the Ancient Monuments', by the Royal
( 01 1 1 1 11 i\sK hi on the Am ient and 1 liftorical Monuments of Scotland
2 Vols .. _ ,83
'Porcelain and Faience, Collectors' Choice of ', by Ruth Bcrges .. 48
'Pottery and Porcelain ot the Yi Period, Korean', by G. St. G. M. Gompertz 1X4
'Pottery and Porcelain, Victorian', by G. Bernard Hughes . . 1X4
'Psychedelic Art', by Robert E. L. Masters and (can Houston . . . . 1X4
'Quality in Art, On', by Jakob Rosenberg .. .. .. .. ..114
'Royal Treasures', edited by Eric Steingraber .. .. .. .. .. 252
'Silhouettes', by Peggy Hickman .. .. .. .. 1X3
'Silver throughout the' World. Modern 1 880-1967', by Graham Hughes . . 251
'Tapestries, The Marlborough', by Alan Wace .. .. 1X4
'Walpole Society 1(166-1968, Vol. XLI'. . .. .. ..1X4
' Watercolours from the Turner Bequest 1819-1845', introduction by Martin
Butler . . . . . . . . . . . . . . . . 244
ILLUSTRATIONS
Architecture I'agi
l Ihicago, Mai in 1 t ity, 1964, by Bertram! ( loldberg.
Exterior, detail, view trom a balcony .. .. .. .. 100
( Ireat Waltliani. Essex, I udor house.
Exterior, from the east, before restoration .. .. 152
Exterior, from the east, today . . .. .. .. .. .. 1 s S
Exterior, trom the north west, before restoration .. .. .. .. 154
Exterior, trom the north west, today . . .. .. .. .. ..154
Exterior, trom the south west, before restoration .. .. .. 153
Exterior, trom the south west, today .. .. .. .. .. ..153
Interior, bedn 10111, principal, with resti >rcd Elizabeth in painted decoration 155
Interior, tmials in the north staircase, one ot the new .. .. 15s
Interior, sitting room, principal, fireplace .. .. .. ..156
Interior, writing room, the new in the former Post Orlicc ..156
Nails trom the original raftered root, and two ot the instruments used tor
making them .. .. .. .. ..156
Kelniscott, < Oxfordshire.
Exterior, east front . . . . . . . . . . . . . . . . 20s
Exterior, 'Manor' and outbuildings seen from the west .. .. .. 20s
Interior, attics, one ot the .. .. .. .. ..211
Interior, north or garden hall (colour plate) .. .. .. .. .. 2ot>
Interior w ith William Morris's tour-poster bed (colour plate) .. 20f>
I ondon, 88 Brook Street
Exterior . . . . . . . . . . '«i
Interior, banking hall (colour plate) .. .. .. .. 70
Interior, board room . . . . . . . . . . . . 72
Interior, ground floor office .. .. .. .. .. .. 71
Intel 101, ladies' powder room .. .. .. .. .. .. 71
Interior, reception room . . . . . . . . . . . . . . 69
Interior, staircase hall . . . . . . . . . . . . . . 71
I >ittO upper part of . . . . . . . . . . . . 71
Interior, Vic e- Preside nt of Manufacturers' Hanover I rnsts's office (colour
plate) 70
I ondon, New ( irafton ( iallery
Interior . . . . . . . . . . . . . . . . 104
I ondon, Rcdmark ( Iallery, St ( hristopher's Place.
Interior . . . . . . . . 105
Montreal, Israel Pavilion at I xpo '17, by Ariel) Sharon.
Exterior, facade detail .. .. .. .. .. .. .. .. 161
New York, Pan A nunc an A 11 w ays Bui Id 1 nc;, 1 vsX, by Walter ( Iropius.
I ixtcrior . . . . 1 59
Ncv\ Yoik, Seagram Administration Building, njsi-sX. by Ludwig Mies
van del Rohe.
Exterior . . . . . . . . . . . . 1 tin
Pal is, tin I i iiivre.
Interior, Grande Galerie renovated 177
United Nations I Icadqu.irtcrs,
Intei 1 ' ii , Medit.it 11 hi Room . . . . 2d s
Interior, Penthouse Lounge, Dag Ha mnarskjold I ibrary . . 2(1 1
Villa ( erro, Piedmont
Exterior, before restoration .... .. 1
Extei lor, entrance courtyard (colour plate) . . 2
Exterior, from the approach road .. .. .. .. j
Exterior, swimming-pool and dressing pavilion .. s.
Architecture — continual page
Exterior, terrace, looking west . . . . . . . . . . . . 4
Interior, bathroom, the principal .. .. .. .. .. .. X
Intel 101, bedroom, the principal (colour plate) .. .. .. .. 2
Interior, dining room (colour plate) .. .. .. .. .. 2
Interior, drawing room .. .. .. .. .. .. 7
Interior, entrance hall and rear corridor .. .. .. .. .. 6
Intel 101, h ill (colour plate) .. .. .. .. .. .. .. 2
Interior, library . . . . . . . . . . . . 7
Interior, rotondo and rear corridor .. .. .. .. x
Interior, staircase . . . . . . . . . . . . . . 6
Interior, staircase, before restoration .. .. .. .. .. .. 1
Arms and Armour
Pistol, silver-inlaid, one of pair, sinned Anhcrt a Liuiii'ill? c. 1720-25. origin-
ally part of a set of 4 .. .. .. .. .. .. 34
RiHcs, riiiitlock hunting, pair, silver mounts, probably Austrian, early Will
century . . . . . . . . . . . . 1 1 1
Sallet, Italian, made by a Milanese armourer ill the 2nd halt ot the XV cen-
tury . . . . . . . . . . . . . . 45
Artists, Engravers and Sculptors
Albers, Joseph. Preliminary course, 1923-33, corrugated cardboard, foldings
(sculpture) . . . . . . . . . . . . . . . . 158
Ames, Ezra Portrait of Gouvernor Morris .. .. .. .. .. 269
Anderson, |ohn. View of the Thames and the I louses of Parliament . . . . 76
Augustine ic, Antun. Equestrian figure symbolizing 'Peace' (sculpture) . . 2fi(>
Austin, Samuel. Highland Fair, watercolour .. .. .. .. .. 163
Barbieri, Giovanni Francesco— .«'<• Guercino II
Barret, ( ieorge, |nr., Evening Reflections: a lakeside scene, watercolour . . [62
Bassen, Bartholomeus van, I he King anil Queen ot Bohemia dining in
public in Whitehall, waited on by Lord Digby .. .. .. 24(1
Bendl, Ehrgott Bernhard. St Paul the Apostle, limewood (sculpture) . . 32
Bertrand, Philippe. I he Accomplishment of the Vow of 1 ouis XIII, bronze
(sculpture) . . . . . . . . . . . . . . . . 196
Besko, Bo
Composition for a concave wall, mural .. ■• •• ■■ 264
Fresco .. 265
Blake, William. Queen Katherine's Dream, watercoloui .. .. .. 134
Bogaert, Martin van der (known as Desjardins), by or after. Equestrian
statuette of the Grand Dauphin, bronze (sculpture) .. •• 198
Boltraffio, Giovanni Am on 10 Saint Barbara with a Chalice in a Mount 1.1 11
Landsc ape . . . . . . . . . . . . . . 14
Bottini, Georges. Aperitif, watercoloui .. .. .. .. .. 241
Boudin, Eugene.
Banks ol the Seine . . . . . . . . . • . . • • 242
Plage de I nun illc, la 100
Boy vin, Rene, aftei Rosso Hie Nymph of Fontainebleau, detail (engraving) 19]
Braque, Georges. Horn mage a J S Bach .. .. .. i s
Breenbergh, Bartolomeus View ol Hvoli, ink and wash on paper .. .. 200
Breughel, Jan, the Elder. Allegoric de I'Air 35
\ 1
INDEX
\rtists, Engravers and Sculptors — continued pac.e
3reughel, Pieter, the Elder, after, possibly by Philippe Galle. The Resurrec-
tion (engraving) . . . . . . . . . . . . . . . . 171
iright, Henry. Landscape near Windsor .. .. .. .. .. 102
Brueghel, Jan. Wayfarers and peasants on a country road .. .. .. 112
3ry, J. T. de, after Marten de Vos of Antwerp. Details of engraved design for
the border of ,1 plate (engraving) .. .. .. .. ..186
3uontalenti, Bernardo.
Design for a cassone, drawing .. .. .. .. .. ..140
Design for the costume of Amonia Doria in the first intermezzo of 1480,
drawing . . . . . . . . . . . . . . . . ..141
Drawings .. .. .. .. .. .. .. .. ..143
Sketch for Apollo and the Python in the third intermezzo of 1 589, drawing 141
Sketch for the mountain of the Hamadryads in the second intermezzo of
1 589, drawing .. .. .. .. .. .. .. ..142
Bush, Graham, Untitled, acrylic on plywood .. .. ..38
tfcadmus, Paul. Male Nude NM5, crayon on toned grey paper .. .. 135
Galderari, attributed to. A Ballplayer and his Page .. .. .. 13
Canaletto. Le Porte del Dolo (etching) .. .. .. ..170
Carmichael, |. W. H.M.S. Victory and a squadron anchored 111 the Bay of
Naples . . . . . . . . . . . . . . 248
Cellini, Benvenuto, cast trom original wax modello ot. Figure of Juno,
bronze (sculpture) . . . . . . . . . . . . ..111
Claesz, Pieter. Still Life with Lemons . . . . . . . . [ 10
Cole, Thomas. Course ot Empire — 'Desolation' .. .. .. 269
Coopse, Pieter. Battle of Leghorn, 1653 .. .. .. .. 239
Courbet, Gustave. Biche forcee a la Ncige .. .. .. ..181
Cousin, |ean, the Younger. The Creation of Eve, detail (woodcut) . . . . 190
Coustou, Guillaume, after. Statue ot Marie Lesczinska, Queen of France as
funo, gilt-bronze (sculpture) .. .. .. .. .. 197
Coysevox, Antoine. Bust of Colbert, Marquis dc Seignelay, white marble
(sculpture) . . . . . . . . . . . . . . . . 34
Cozens, |. R. A grotto in the Campagna, watercolour . . 246
Crawhall, Joseph. Man riding horse with dog alongside . . 44
Credi, Lorenzo di. The Virgin adoring the Child .. .. 15
Cronbach, Robert. Bronze sculpture . . . . . . . . . . 265
Cuyp, Albert. Portrait of a girl holding a golf club .. .. .. .. 111
Dali, Salvador. The Invisible Man .. .. .. 1 54
1 Xmkcrts, Hendrik.
View ot the Thames and St. Paul's .. .. .. ..76
View of St. James's Palace .. .. .. .. .. .. .. 75
David, J. L. Drawing of a woman .. .. .. .. .. ..176
Degas, Hilaire Germain Edgar.
(Iirl with Field-glasses (Femme a la lorgnette), 'Lyda', oil paint thinned
with turpentine on pink paper . . . . 230
Woman Ironing .. .. .. .. ..178
Delacroix, Eugene. Studies ot a seated Arab (Arabe Assis), black and red chalk
and watercolours, heightened with white, on brown-grey paper 229
Demuth, Charles. Vaudeville, pencil and watercolour on paper . . 270
Deshayes, Jean Baptiste. Martyrdom of Saint Andrew .. 107
Desjardins — sec Bogaert, Martin van der
I )ossi, Dosso (Giovanni di L uteri) Foui Fathers of th< t hurch discussing tin
Immaculate Conception .. .. .. .. .. 13
1 )upont, Gainsborough.
Portrait of Dorothea Jordan .. .. .. 227
Portrait of Elizabeth Pope as Queen Katharine in Hairy I /// . 224
Portrait of Giovanna Baccclli .. .. .. .. .. ..221
Portrait of Isabella Mattocks as Louisa in The Duenna .. 22 s
Portrait of Jane Trythosa Walhs, afterwards Mrs. [ames Campbell, as
Imogen in Cymbelitte . . . . . . . . . . . . 227
Portrait of John Quick as Spado in The Castle of Andalusia 224
Portrait of Joseph George Holman as Edgar in King Lear 222
Portrait ot William Farren . . . . . . . . . . . . . 221
Durand. John. Children of Garret and 1 lelena De Hyse Rapalje . . 268
Diirer, Albrecht.
Bath House, The (woodcut) .. .. .. .. .. .. .. 179
Melencoliah (engraving) .. .. .. .. .. .. .. 170
Dyck, Sir Anthony Van,
Madonna and Child with St. Anne . . . . . . . . . . . . 248
Triple portrait of Charles I .. .. .. .. .. .. 217
Ede, Basil. Great Black-backed Gull, watercolour . . . . . . . . 1,6
Ehrlich, Franz. Study for a mechanical window display, kinetic si ulpture 1 >7
Euricli, Richard. Destroyer picking up survivors . . . . 175
Fairtax-Murray, Charles. Death portrait of William Morris, 3 October 1896 212
Falconet, Etienne-Maurice, attributed to. Recumbent bacchante, bronze
(sculpture) . . . . . . . . . . . . . . . . . . 199
Fantin-Latour, Henri. Le Vase de Pivoines . . . . . . . . . . 99
Fernclcy, John E., Sen. A memorable run with the Quorn . . . . 247
Finelli, Giuliano. Portrait bust of Cardinal Francesco Barberini (sculpture) . . 220
Finson, Louis, attributed to. Portrait of Nicholas Claude Fabri de Peiresc 218
Foggini, G. B., style of. Daphne and Apollo, French Royal Florentine, bronze
(sculpture) . . . . . . . . . . . . .181
Gainsborough, Thomas.
Portrait of Johann Christian Bach . . . . . . . . . . . . 223
Portrait study of a lady, black and white chalks .. .. ..111
Galle, Philippe — see Breughel, Pieter, the Elder
Artists, Engravers and Sculptors — continued
Gandy, Joseph M. 'Design to connect the Entrance into Hyde Park .1:
St. James's Park with a Monument to commemorate the victories ol
Trafalgar and Waterloo watercolour .. .. 180
Gerard, Baron. 'Madame Mere', portrait ot the mother ot Napoleon I 40
Gericault, Jean Louis Andre. The Coal Waggon ( I outc de Londres, L'Atu
age a Trois Chevaux, Le Chariot), watcrcoli >ui s 1 ivcr black chalk
outlines . . . . . . . . . . . . . . . . 229
Gilford, Sandford R. Lake Como . . . . . . . . . . 2(19
Gilbert, Alfred.
Broken Shrine, The, bronze (sculpture)
Clarence Tomb (sculpture)
Ditto — completed panel . . . . . . . . 1,
Ditto — detail, head of effigy of the Duke of Clarence .. .. .. 91
Ditto — plaster model. March 1892 .. .. .. ..86
Ditto — ditto, 1894 .. .. .. .. .. ..87
Ditto — progress photograph ot effigy, 1893 .. .. .. 86
Ditto — progress photograph of sketch panel, c. 1896 .. .. 89
Eros, larger version (si ulpture) .... ..23
Ditto — miniature (sculpture) .. .. .. .. .. 2!
Fawcett Memorial, The (sculpture) .. .. .. .. .. 2;
Ditto — detail of figures . . . . . . . . . . . . . . 24
Ditto — ditto . . . . . . . . . . . . . . . . . . 25
Icarus (sculpture) .. .. .. .. .. .. ..22
Models tor figures tor Queen Victoria's [ubilee statue at Winchester, 2,
plaster (sculpture) .. .. .. .. .. .. 26
Original frontispiece tor a descriptive album on the Clarence Tomb and
its heraldry, watercolour and gold leaf .. .. .. .. 88
Perseus Arming (sculpture) .. .. .. .. .. .. .. 22
Portrait bust, Elsa Mcloghlin, bronze (sculpture) .. .. .. ..150
Roundel (sculpture) . . . . . . . . . . . . 25
Russell Memorial, Chcnics, Buckinghamshire, central portion, bronze
(sculpture) . . . . . . . . . . . . . . 148
St. Catherine, plaster model (sculpture) .. .. .. 151
St. Catherine, the Miraculous Wedding, bronze (sculpture) . . . . [51
St. Catherine of Sienna, bronze (sculpture) .. .. .. isi
St. Edward the Confessor, polychrome bronze (sculpture) .. .. .. 149
St. Elizabeth of Hungary, polychrome bronze (sculpture) .. .. .. [48
St. George, bronze (sculpture) . . .. .. .. .. .. .. 14S
St. George and the Dragon led by Victory, bronze (sculpture) .. 1 so
St. George from the Jubilee cpergne (sculpture) .. .. .. 27
St. George, Sandringham Parish Church, detail (sculpture) . . .. 27
St. George, working model, aluminium (sculpture) .. 140
St. Michael, polychrome bronze (sculpture) . . .. .. .. .. 14s
St. Nicholas, plaster model (sculpture) .. .. 151
Sketch for canopied Clarence Tomb, drawing .. .. .. .. 88
Sketch model for grille panel oft Jarence Tomb, show ing early St, ( lei irgc,
plaster (sculpture) .. .. .. .. ..145
Sketch models of four ot the 'Saints', detail ol plaster model ot the
( larence Tomb (sculpture) .. .. 146
Tragedy and Comedy (sculpture) .. .. .. ..27
Tribute to Hymen (sculpture) .. .. ..22
Victory (sculpture) .. .. .. .. .. .. .. .. 26
Victory (sculpture) .. .. .. .. .. .. 14")
Virgin, The, polychrome bronze (si ulpture) . . 1 44
Virgin, The, variant ot .1 figure on the ( larence Tomb, polychrome
bronze (sculpture) (colour plate) .. .. .. .. [47
Zeal, restored bronze previously modified by another hand (sculpture) . . 24
Glover, John. View of North wick Park. . .. ..77
Gogh, Vincent Willem van. La ( ran trom Montmajour, reed and tine pen
with light and dark-brown ink over black chalk . . 23 1
Gooch, Thomas. Gentleman with his bay hunter and dogs in a landscape 102
Gotlib, Hcnryk. Self-portrait .. .. .. .. 105
Goya. Francisco de. Tauromaquia, La, plate 2 (etching with aquatint) . . 169
Goyen, Jan van. A view of Rhenen from the East .. .. .. 103
Graham, |ohn D.
Head of a woman, oil, chalk, ballpoint pen, coloured pencil, pencil, brush,
pen and ink on tracing paper .. .. .. 271
Study for 'Two Sisters', crayon, wash, pencil and brush on tracing paper. . 271
Greuze, J. B. Portrait of a Man .. .. .. .. .. 172
Guercino, II (Giovanni Francesco Barbieri).
Banker and his Wife seated behind a Counter, A, pen and brown ink . . 43
St. Jerome of Aquitainc .. .. .. .. .. .. .. i7<>
Hassam, Childe. Field o." Poppies, Appledore, w atercolour (colour plate)
Noi'enthei covet
Hepworth, Barbara. Single Form, bronze (sculpture) . . . . . . 266
Herring, John Frederick, Snr. Sautern with Fred Archer up .. .. 113
Hopper, Edward. Barber Shop . . . . . . . . . . . . . . 270
Houdon, lean Antoine, by or after. La Fnleuse, bronze (si ulpture) 198
Huggins, William. Sheep with gate and shelter, watercolour .. .. 162
Hulme, F. W. View ofPyrford, Surrey. . . . . . . . 172
Ingres, [. A. D. Portrait of M. Charles Hayard and Ins Daughter Marguerite,
black lead ' . . . . 22S
[ordaens, facob.
As the Old Sing, so the Young Twitter, black and red chalk, brown wash 258
Design for Wall 1 )ccoration, black and red chalks with brow u wash 2 s s
Girl standing with her Pet Finch on a Terrace (Anna Catherine Jordaens) 2s.s
Groom leading out a Horse, watercolour and body colour over black chall 2S4
vu
INDEX
GJ Artists, Engravers and Sculptors — continued
Artists, Engraver* and Sculptors continued p,
|ordacns, Jacob.
Intel it ii with Holy Family and Attendants, red .mil hl.uk chalks and wash 2s7
King 1 )rinks, I ho, bla< k i halk, pen and brown ink, watcrcolour and body
colours 258
Madonna and < hild Visited by the Child St. John and his Parents . . 257
Young Woman in .1 Plumed I lat (Elizabeth |ordaens) (colour plate) . . 256
Kent, William Preliminary plan and elevation tor Townscnd's building at
Rouslum, Oxfordshire, 1736, drawing .. .. .. 111
Kidncr, Michael. Green, acrylu .. .. .. .. .. 39
I ajoue ! u ques. The '( alum t Physique' of bonnier do la Mosson, detail o;s
Laugc, '.ehille. Le chemin du village .. .. .. ..36
Law' e. Sir Thomas, Portrait ol Arthur Atherlcy as an Et< mian 1 34, 222
I 1 , |. F. View of the street and mosque of Ghooreyah, Cairo .. 247
I 01 am, Robert Le.
Andromeda, bronze (sculpture) .. .. .. .. .. [95
Vertumnus and Pomona, bronze (sculpture) .. .. 0^4
Loutherbourg, Philip James de The Battle of Camperdown, 17V7 247
I uteri, < iiovanni di sec I >ossi, I >nsso
McGarrcll, James. Rainbow .. .. .. .. .. 201
Magritte, Rene. Personal Values .. .. .. 135
Malan, Solomon C laesar.
Capetown, pencil, reed pen and watercoloui .. .. .. .. 94
t hi nose characters used in |apanese calligraphy, vermilion and Indian ink 93
t otta, Ceylon, watercolour .. .. .. .. .. .. .. 95
El Barrath, reed pen . . . . . . . . . . . . 95
Fish and t rah from Lake Tiberias, pencil and watcrcolour . . . . 95
Group of figures in Greece, pen impression .. .. .. 97
Isle of Trinidad, pencil and wash .. .. .. .. .. 93
Magdalen Tower, Oxford, pencil, sepia wash on white paper .. 92
Monreale, Sicily, pencil and watcrcolour .. .. .. ..96
Table Mountain, watercolour .. .. .. .. .. .. 94
Tyre, reed pen, pencil and watercolours .. .. .. .. .. 1/1
Mansueti, Giovanni. Adoration of the Shepherds .. .. .. i;
Marlow, William A View of Westminster .. 73
Marshall, Hen A light bay hunter .. .. .. .. .. .. 247
Martinelli, Ezio. Anodized aluminium sculpture .. 265
Marziale, Marco. Christ at Emmaus .. .. .. .. 12
Master E.S. Hie letter M (print) . . .. .. .. .. .. ..171
Matisse, Henri. Nu assis . . . . . . 24V
sMeyer, Jeremiah. A lady with a pink ribbon (miniature) .. 171)
Millais, John Everett Peace Concluded .... 173
Mitsnoki Tosa. Poet and Poem, ink and paint mi paper mounted on silk 65
Mondrian. Composition with red, blue and green .. ..41
Monet, Claude Portrait cie Jean Monet .. .. .. ..101
Moore, 1 lenry
Locking piece, 1962 3, bronze (sculpture) .. .. .. 10X
Standing figure (knife-edge), 1961, bronze (sculpture) (colour plate) . . 109
Morris, William I >esi<_;ii for the stamped leather binding ot the Kelmscott
Press '( lhaucer' . . . . . . . . . . . . . . . . 207
Mount, William S. Barg. lgforaHorse 26X
Munnings, Alfred Hie White Canoe .. .. .. ..173
Mura, Francesco de. The rape of Proserpine .. .. .. 37
Nash, Paul. Battle of Britain .. .. .. ..175
Noguchi, Isamu. Integral, Greek marble (sculpture) .. .. 13 5
Noland, Kenneth Via Sheen, acrylic on canvas .. ..39
Opie.John Portrait of Thomas Harris , . .. .. 221
Palmer, Samuel, rhe Waterfalls, Pistil Mawddaeh, North Wales 17S
Pannini, G. P Soldiers and peasants in a classical capriccio .. .. 37
Patch, ['bonus View of Florence from Bcllosguardo .. 17')
Pauta Startled Owl, stone cut in black and green (sculpture) .. .. .. 271
Pe.ilc,< harles Willson. Peale Family Group 268
Picasso, Pablo Femine au chicn Afghen .. .. .. .. .. 241
Pinkhani, I lenry William. I ancaster ( lastlc . . . . . . . . 74
Piranesi, < iiovanni Battista.
( arceri, I he. plate VII (print) .. .. .. lf)8
Vcdute de Roma (album of etchings) .. .. .. 24N
Pissarro, < amille. Lever du Soleil a Rouen .. .. .. .. .. 99
Portinari, Candido. Mural, one of two 'War' and 'Peace' .. .. 262
Poussin, Nicolas Sell-portrait . . . . . . . . . . is
Pritchett, Anthony str Riddle, Hugh
Prud'hon, Pierre Paul. Nude Woman Standing (a studv lor hi Navigation?),
black chalk heightened with white on blue-grey paper .. .. 33
Pye, William. Untitled 1 (sculpture) .... .. .. .. .. 105
Ra\ < steyn, I lubei t van St ill I 1 le . . . . ..110
Redon, Odilon. Luiniere (lithograph) .. .. .. .. 181
Rembrandt
|un< > . . . . . . . . . . . . . . 200
< Imval, I he (eti hing) . . . . . . . . . . . . 169
Rem hi . Pierre-Auguste
|eune hlle de profil . . . . . . . . ..113
Pensee, La . . . . . . . . . . . . ..101
Richardson, T. M Dunstanburgh < astle, watercolour .. 163
Riddle, I Ingh, and Anthony Pritchett Side hands, 1968, soil ol a kinetic
scqucnci produced by an analogue system (sculpture) 174
Roberi David ['lie Salute, Venice .. .. .. .. .. .. 231;
Robins, I hoinas, the younger Blue African Lily and Purple Coroflilla,
watercolour with body colour .. .. .. .. .. 24X
Rodin, Augustc.
Age of Bronze, T he (sculpture) .. .. .. .. I06
Etcrncl Printcmps, bronze (sculpture) .. .. .. ., .. 66
Rosa, Salvator. Jason Charming the Dragon .. .. 200
Rosenquist, |amcs.
C Capillary Action No. 2, mixed media .. .. .. ..67
Lines Were Deeply Etched on the Map of her Face, The .. ..67
Rosselli, ( osimo. The Virgin and C 'hild with St. Anne and four Saints . . 14
Rossetti, I 'ante ( labnel.
'Blue Silk Dress', portrait of Janey Morris .... 207
Portrait of May Morris, coloured chalks .... 208
Study of Janey Morris, pencil ...... 208
Rubens, Sir Peter Paul.
Atalanta and Melcager .... .... 214
Shepherd and Shepherdess .. .. .. .. 213
Rysbrack, J. M. Maquette for monument of Nicholas Rowc, terracotta
(sculpture)
Schlcinmer. Teaching 1922-29, figuring 'de-materialization', drawing 158
Sihonlcld, |oh. 11111 Hcmrich. The Rape ol the Sabines . . ..31
Sc ott, Samuel. A View ot the Thames from near Westminster Bridge 43
Scries, I >ominic. Shipbuilding at Blackwall Reach . . 1X0
Seni.it, Georges Pierre. Figure study tor 'La Grande |atte' (Le Couple, La
Promenade), conte crayon .. .. 231
Sharpies, James. Portrait of George Washington . . 73
Sheffield, George. Canal scene with lock, sepia wash 163
Shepard, E. H. The Pooh Party, the original pen and ink drawing from
' Winnie-the-Pooh' by A. A. Milne .... ..45
Siberechts, [an Windsor Castle from the River 75
Sickert, W R.
Beach at Scheveningen, The (colour plate) .. .. 11
Kurhuisat Schevcningen, The .. ..10
Scheveningen (one of the etchings) .. .. .. .. .. .. 10
Sketch ot Scheveningen . . . . . . . . . . c;
Sislev, Alfred. L'lnondation . . . . 100
Stanfield, William Clarkson. Culzean Castle, Ayrshire . . 77
Steinlein. Study of a woman, charcoal .. .... 240
Storck, Abraham. The Admiral Zeilen, Amsterdam . . 103
Thomire, Pierre-Philippe, Nymph Dandling an Infant Satyr, bronze
(sculpture) . . . . . . . . . . 196
robey, Mark. Forms Follow Man, tempera on cardboard .. ..67
Turner, J. M. W. Buildings by a lake, w atercolour ov er pencil (colour plate) 24s
Unknown. Tomb ot Mary ot Burgundy, St |ohn's Church, Bruges (sculp-
ture) . . . . . . . . . . . . . . . . 87
Unknown: Augsburg, first part XVII century. Archangel Michael, lime-
wood (sculpture) .. .. .. .. .. .. ..30
Unknown : Benin, early. Belt mask, bronze (sculpture) .. 246
Unknown: Benin, early XVI century. Belt mask, ivory (sculpture) . . 133
Unknown: Chinese. Bodhisattva 'Angaja' figure, bearing Chinese and
Tibetan inscriptions, bronze (sculpture) ■■ 3S
Unknown : Egyptian,
Bust.it young woman holding a ball of unguent(?), steatite (sculpture) . . 53
Cat 011 a papyrus column, bronze (sculpture) .. .. .. .. 123
Dwarf or pigmy holding an unguent jar, ebony (sculpture) .. .. 52
figure ol Apis bull, bronze (sculpture) .. .. .. .. .. 121
Head of Amenhotep III, brown conglomerate (sculpture) .. .. 54
Head, the Boston Green (sculpture) (colour plate) 120
Head ot a god with tile features ot Tutankhamen, sandstone (sculpture) . . 55
I lead of a goddess w ith the features ot Queen Tiy, mottled green stone
(sculpture) (colour plate) .. .. .. .. .. .. .. 50
Head of a man wearing a lotus-bud diadem, d ion tic basalt (sculpture) . . 121
Head of an official of Athribis, grey diorite (sculpture) .. ..119
Head of Pharaoh, stone (sculpture) .. 35
Relict, detail from, showing a portrait ot the deceased, limestone (sculp-
ture) . . . . . . . . . . . . . . 1 22
Relict with men in a papyrus marsh, probably from the tomb of Mentue-
mhat, Thebes, limestone (sculpture) .. .. ..119
Statue of King Maker, granite (sculpture) .. ..123
Statuette of the Prophet of Amen Khonsu-ir-aa, black diorite (sculpture) . . 1 to
Unknown: Egyptian, Amarna.
Relict showing Akhcnaten as a sphinx, limestone (sculpture) . . 54
Relief showing the rooms ol the Palace at A mania, limestone (sculpture) . S2
Segment ol column from a building at Amarna, show ing nembers ot the
royal family, limestone (sculpture) .. .. .. .. 54
Unknown: Egyptian, Bubastis.
Bloi k statue <il Prince Mentuher-khepeshef, son of Rameses II (sculpture) 56
Bust of Rameses II (sculpture) . . .. .. s'>
Unknown: Egyptian, Gcbcl Baikal
Altar wiih relut ol Atlancrsa holding up the heavens, and deities tyini
together the plants ol Upper and l ower Egypt on his grey grain!
stand for a solar barque (sculpture) .. .. .. .. .. 18
Statins, colossal, nl tin rulers ol K ust, Aiilainaiii and Aspclta, granite
(si ulpture) . . . . . . . . . . .11/
Unknown: Egyptian, Hermopolis, said to be from I lead, portrait, ol a
wooilen statuette (si ulpture) .. .. .. .. .. 121
Unknown: Egyptian, I hi I L ad nl Amenhotep II, white crystalline lime-
stone (sculpture) .. .. .. .. .. .. .. .. 53
\ in
INDEX
\rtists. Engravers and Sculptors — continued P
Jnknown: Egyptian, Karnak.
Hatshcpsut as King on a fragment of a red granite obelisk (sculpture) . . 51
Relict from the throne base of a statue inscribed by King Ay from Karnak,
showing a Nile god with the features of the king, grey marble (sculp-
ture) . . . . . . . . . . 55
Jnknown: Egyptian, Middle Kingdom. Statue of Sennuwy (sculpture) . . ,6
Jnknown: Egyptian, Thebes. Relief with butchering scene from the tomb
of Mentuemliat, limestone (sculpture) .. .. 1 1 S
Jnknown: XVIII century. Bust ot Charles 1, based on lost original by
Bernini (sculpture) .. .. .. .. .. .. 218
Jnknown: English, dated November 9th, 1837. A Grand Spectacle . . 77
Jnknown: French, late XVI century. Bust presumed to be a portrait ot
Bernard Palissy, painted terracotta (sculpture) .. .. .. ..185
Jnknown: French, c. 1690. Nessus and Deianeira, bronze (sculpture) . . 199
Jnknown : Gaboon, Fang tribes. Figure, male, wood (sculpture) .. 133
Jnknown: Guatemala, IV to VII century classical period. Statuette of a man,
jade (sculpture) . . . . . . . . . . . . 41
Unknown: Japanese, early XVIII century. Screen, two-told, showing .111
armed Dutch merchant ship . . . . . . . . 43
Unknown: Japanese, Kamakura period (1185-1333). Seisin figure, wood
with lacquer (sculpture) ..65
Unknown : Kashmir, IX-XI century. Figure ot Buddha, bronze (sculpture) . . 45
Unknown: Moravian, early XIX century. Saint Barbara, painting applied
to the back of glass .. .. .. .. .. ..106
Unknown: New York. Portrait of Emma Van Name. . .. .. 110
Unknown: Roman, c. II century A.l"). Aphrodite, marble (sculpture) . . 246
Unknown: XVII century. Portrait of Cardinal Francesco Barberini (engrav-
ing) 219
Unknown : Swiss, XVI century. The Crucifixion .. .. .. 35
Unknown: XII century. Notker Balbulus as a pensive poet in Ins cell
(miniature) . . . . . . . . . . . . . . . . 82
Verendael, Nicolas Van. Flowers in .1 Vase (colour plate) . . December cover
Vernet, Claude-Joseph. La collation sur l'herbe .. .. 179
Vigce-Lebrun, Marie Elizabeth.
Portrait of Count Shuvaloff .. .. .. .. .. 201
Portrait of Princess Anna Alexandrovna Galitizin 201
Voerst, Van Per, attributed to, after Bernini. Bust of Charles I. the lost
(engraving) .. .. .. .. .. .. .. 219
Vos, Marten de, of Antwerp — sec Bry, J. T.
Vrancx, Sebastien. Landscape with figures, one of pair 2?s
Vuchetich, Evgeniv. 'Let us beat swords into ploughshares' (sculpture) 2f>2
Wall, Brian. Two elements, [968, welded steel painted dark blue (sculpture) 240
Whistler, James A. McNeill. Archway, Venice, pastel - .. .. 2<»>
Wootton, |ohn. The starting post at Newmarket. 171(1 180
[Wyck, Thomas. Interior of an inn .. .. .. .. .. 238
Zanetti, Jose Vala. Mankind's struggle for a lasting peace, mural .. 265
Bookbindings
C odex6o, IX century: book cover, ivory, carved byTuotilo. . So
I 'Evangelium Longum', Codex s.?: ivory tablet comprising trout cover,
carved by Tuotilo . . . . . . . . . . 80
Books, MSS and Inscriptions
'Apocalypse, The' : manuscript on parchment 1 . 1300 112
Balbulus, Notker: explanatory letters to the Neumes (or notes without
staves, keys, bars or indication ot the rhythm) .. .. 82
Bible, published by Jean le Clerc, Pans. 1014, illustrated, second edition:
detail of woodcut. The Creation of Eve, by lean Cousin the Younger. . 190
Colonna, Francesco, 'Hypnerotomachie', published by |acques Kervr, Bans,
1546: detail of a woodcut on leaf 11, verso .. .. .. ix<>
Demiani, Hans, 'Francois Briot, Casper Enderlein und das Edelzinn': Plate I,
Aqua, detail from the pewter 1 empcrantia basin by Francois Briot 192
Plate VI, pewter ewer by Francois Briot .. .. .. 193
Folchard Psalter, c. 860: initial letter 'Q' (colour plate) .. .. .. 79
Inventories of Solly Collection: title page of one of three partial, which have
survived . . . . . . . . . . . . . . . . . . 16
Inventory of Solly Collection 1829: opening pages .. .. .. .. 17
Irish Gospel. VIII century:
Border of 'The Last Judgement' .. .. .. .. .. Si
Initial of Evangelium-Initium .. .. .. .. Si
Labels, typical, on back ot .1 stretcher ot a painting formerly 111 the Solly
Collection which was transferred to the Royal Prussian family . . 16
Lecand, B. L., trade card, found on the back ot several circular minors off.
1 800 in Norway .. .. .. .. .. .. .. 18
Milne, A. A., ' Winnie-the-Pooh' : 'The Pooh Party', original pen and ink
drawing by E. H. Shepard . . . . . . . . 45
Pisan, Christine de, 'Le Livre des Trois Vertus', c. 1460, MS on vellum . . 246
'Psalterium Aureum', in Carolingian script, completed in 910, Codex 22:
Miniature from . . . . . . . . So
Ditto Si
Ditto, 2 . . . . . . . . . . . . . . . . . . . . 84
Psalters by Wolfcoz and Folchard, 2, Codex 23, folio 27 and 13 .. .. 83
Tezio, Girolamo, 'Aedes Barberinae', Rome, 1642: engra ing on p. 71 ot
Cardinal Francesco Barberini .. .. .. .. ..21c;
Waghenaer, 'Speculum nauticum super navigationc maris 4; ps, con-
temporary colour, Leiden 1586 .. .. .. .. 24S
Colour plates PAt.l
Beach at Schevenmgen, The, by W. R. Sicken . . . . . . 11
Buildings by a lake, by J. M. W. Turner, watcrcolour over pencil 24s
Cabinet, Flemish, with paintings by Hendnk van Balen, early XVII century 21 s
Ditto — detail, drawer, lower central. Ami until oml / lippomenes . . 21s
Field of Poppies, Appldeore, by Childe Hassam, watcrcolour Novemb cover
Figure of Brazilian vulture, porcelain. Meissen, modelled by [ohan Joachin
Kaendler, 1734 .. .. .. .. October 1 over
Flowers in a Vase, by Nicolas Van Verendael December cover
Folchard Psalter, c. 860: initial letter 'Q' .. .. .. -><j
Head, the Boston Green, Egyptian (sculpture)
Head of a goddess, gold, mounted on a crystal orb, Egyptian, from El
Kurru . . . . . . . . . . . . . . . . 1 .
Head of a goddess with the features of Queen Tiy, Egyptian, mottled green
stone (sculpture) . . . . . . . . . . . . . . 50
lewel, gold, inlaid with semi-precious stones, pendant is the young sun-god
who is born from a lotus flower. Egyptian, early Ramesside, c. 1300
B.C. . . . . . . . . . . . . . . Septembei cover
Kelmscott Oxfordshire.
Interior, north or garden hall
Interior w'-rh William Morris's tour-poster bed . . 206
Lion, gold, with mane ot blue glass fused in gold cloissons, Egyptian . . 50
London, SS Brook Street.
Interior. Banking Hall . . . . . . . . . . 70
Interior, Vice-President ot Manufacturers' 1 1. mover Trusts' office . . 70
Necklace, gold, with floral and vase pendants, Egyptian . . 120
Pectoral, yellow faience, originally inlaid with other colours. Egyptian, said
to be from Mendes .. .. .. .. .. .. ..120
Pendant, hippocamp, 2 views back and front. Florentine . . . . [38
Pendant, merman, Florentine .. .. .. .. ..138
Pendant, Virtue mastering a dragon, Florentine ..138
Plaque, mosaic glass, with Apis bull before offering table, Egyptian . . 120
Pot and lid. painted red-ware, with sculptured ibex and heifer, Egyptian . . so
Ring, gold, inscribed with the name of the goddess Mut, Egyptian 1 21 >
Ring, gold, with lapis lazuli scarab inscribed by Sheshonk III, Egyptian 1 20
Shawabti ofTuthmosis IV from his tomb at Thebes, faience, Egyptian so
Sphinx, electrum, on column inlaid with stones and faience, Egyptian, from
El Kurru . . . . . . . . . . 120
Standing figure (knife-edge), 1 961 , by I Icnry Moore, bronze (sculpture) 101;
Vase, nephrite, 111 form ot .111 opening water lily carved out ot a single piece
ot Siberian jade, mounted 111 gold and enamelled 111 the Renaissance
style, set with rubies and diamonds, by Carl Fabcrge .. .. 211;
Villa t en o, Piedmont
Exterior, entrance courtyard .. .. .. .. .. .. 2
Interior, bedroom, the principal
Interior, dining room
Interior, hall . . . . . . . . . . . . . . . . 2
Virgin, The, variant ot .1 figure on the Clarence Tomb, by Alfred Gilbert,
polychrome bronze (sculpture) .. 147
Vultuie's head, gold, perhaps from the diadem of a queen or princess,
Egyptian . . . . . . . . . . . . . . 1 20
Young Woman in a Plumed 1 Lit (Elizabeth |ordaens), by |acob [ordaens . . 256
Enamel
Vase, enamel on cupper rcpou.<$r, design ol pussy willows. Tiffany . . 60
Engravings, Etchings and Prints
Bath House, The. by Albrecht DUrer (woodcut) .. .. 179
Bust of ( harles I, the lost, attributed to Van der Voerst, alter Bernini (en-
graving) . . . . . . . . . . . . 219
t .men. The, plate VII, by Giovanni Battista Piranesi (print') . . 168
Creation of Eve, The, by [ean Cousin the Younger, detail (wood< ut) . . 190
I >etails ot engraved design tor the border of a plate, by J. T. de Bry after
Marten de Vos of Antwerp (engraving) . . .. .. .. 186
Letter M, The, by the Master E.S. (print) .. .. 171
Lumierc, by Odilon Rcdon (lithograph) .. ..181
Melencoliah, by Albrecht Diirer (engraving) .. .. .. ..170
Nymph of Fontainebleau, The, by Rene Boyvin alter Rosso, detail (en-
graving) . . . . . . . . . . . . . . . . 191
Omval, The, by Rembrandt (etching) .. .... [69
Porte del Dolo, Le, by Canaletto (etching) .... 170
Portrait ot Cardinal Francesco Barberini, XVII century (engraving) . . 210
Resurrection, The, after Pieter Breughel, the Elder, possibly by Philippe
Galle (engraving) .. .. .. .. .. 171
Scheveningen, by W. R Sickcrt (one of the etchings) .. .. ..10
Tauromaquia, La, plate 2, by Francisco de Goya (etching with aquatint) . . 169
Vcdutc de Roma, by Giovanni Battista Piranesc (album of etc lungs) . . 24S
Furniture
Armchair, bamboo, m Chinese style ol William Chambers, one of foul
George III . . . . . . . . . . . . . . . . . 1 So
IX
INDl-X
Furniture continue!
Glass continued
Bureau, walnut and oak, c. 1710-40, follows English contemporary style
closely, but it is not known whcthci the maker was English or
Norwegian
t ibilK't, ebony and tot (niscslicll, Flemish, X V II century
( ilnnct, Flemish, v\ ith paintings by I lend] ik van Balcn, early XVII century
(1 olout 1 '
I >itto ilct. ill 'i.iwer, lower central, \1alm1la and Hippomenes (colour plate)
I iittu ilet.i 1 1, panel, central cupboard, Shepherd and Shepherdess
I lain detail, panel, right-hand door, . \1ala11la aiul Meleager . .
|)ittn details, drawer panels 8 ..
( labini 1 > riting, South ( ii 1 man, mid Will century . .
Chaii eecll, Norwegian, 1 1 fido-So, crest of
Chan, bici b, Norwegian version ol .1 < hippendalc style, end of XVIII
century
1 hair, birch, in ( hippendalc style by Lars Gron, Norway, 1 787
1 hair, birch, Norwegian in Queen Anne and early Georgian style made
between 1 850 and 1900
( hair, mahogany, carved, made in 0ngm.1l XVIII-century manner by
( Icorgc Strachan and Son I til , of I ccds to .1 design 111 the '( ien tie man
and ( abinetmaker's I (irector' foi a film by Yorkshire Television Ltd.
1 ommemorating the jsaith anniversary ol Thomas C Chippendale's birth
( h.ni, sule, ( hippendalc style, by Eliphalet ( lupin, American, Connecticut
( hair, side, mahogany, ( hippendalc style, Annapolis, Maryland, c. 1770
t hair, tubular steel, covered with linen, \i>2X, produced by Standard Mobel,
Berlin
I henets. dog .mil cat, p. 111, Louis XVI, by I )isnematin
C best, block front, three-drawer, made 111 New London County 1755-1805
American, ( onnecticut ..
( best ol drawers, mahogany, and dressing mirror, American, Savannah,
made by John Wilkens, c. 183 j
Chest, sunflower two-drawer, possibly by Peter Blum, American, ( on-
necticut
Commode, black and gold lacquer with ormolu mounts and marble top,
l oins XV, attributed to Antome Robert ( laudreau
( on 11 node, king wood marquetry, original doors missing, George 111
Commode, marquetry with ormolu mounts, Regence
( lommode, semi-elliptical, painted decoration ol pastel shades and floral and
classical ornament in the style of R< ibert Adam, r. 1 775
I )itto— detail of top
C Commode, w riting, painted satinwood, Adam, late XVIII century
Cupboard, corner, southern pine, C 'hippendalc, American, Savannah, f. 1 770
Cupboard, painted, one ot pair, with commode en suite. Venetian, mid-
XVIII century
I'esk, reading, satinwood, with side drawer, decorated 111 gilt-bronze,
Regence, attributed to Pierre Migeon
Dressing table, cherry, Queen Anne, c. 1750, American, ( onnecticut
Fauteuil, carved and painted, one ot set ot f>, Louis XV, stamped by M.
( ressi m
Mirror, dressing, mahogany, and chest ol drawers, American, Savannah,
made by John Wilkens, c 1X35 ..
Secretaire, marquetry 111 tulip-wood, Louis XV, stamped Dclormc
Settee, bleached and polished birch, partly gilded, Norwegian 111 the Hepple-
w lute style, f. 1 790
I able, card, carved and inlaid walnut, < Icorgc I
Table, card, mahogany, American, Savannah, c. 1800
Table, card, mahogany, Chippendale, American, Savannah, r. 17S0
I able, 1. ml, mahogany inlaid, classic style, American, Savannah, c. 1790-
1 800
Table, designed by Philip Webb, described as 'the tirst made", presumably,
th.it is, by the 'Firm' (Morns, Marshall, Faulkner i\ Co.) established
m April, 1 sti 1
Table, dining, red bay, Sheraton, American, Savannah, c. 1N10
["able, dressing, mahogany, Queen Anne. American, Savannah, c. 1760 . .
Table, drop-leaf, mahogany, Queen Anne, American, Savannah, c. 1 765
Table, drop-leaf, walnut, American, Savannah, made by |ohn Wilkens,
c 1845
I able, gueridi in, 1 me 1 >l pair, boms XIV, 111 Botille marquetry ol pewter and
tortoiseshell
I able, te.i, mahogany, < Jueen Anne, American, Savannah, 1 . 1760
Table, tilt-top, mahogany, American, Savannah, made by Isaac Fell, c. 1 s 1 ts
I I in heres, blackamoor, pair, Venetian, XVII century
Typewriter, designed by Hin Bredendieck
Wash-stand, mahogany, American, Savannah, made by |ohn Wilkens, c
t«f, ■
Wash-stand, mahogany, American, Savannah, made by John Wilkens, <.
'840 '
ty
180
21 5
215
213
214
216
1 '<■)
IV
+4
62
1 59
248
"4
130
(>}
44
247
1 8 1
1 66
[67
1 13
127
2411
35
63
1 31 1
[77
2 1
I I 5
I !■!
125
210
I2.N
126
I 26
177
127
124
247
[6l
I 32
1 , I
Ale-glass, pale green, moulded ornament and incurved rim, from Honey
Lane, Elizabethan
Beaker, base, pale blue with trailed thread decoration, from Honey Lane,
Elizabethan
( Candlestick, colour-twist, the Applewhaite-Abbott, c. 1760 . .
< loblet, made by a North Rhine glassmakcr, XVII century . .
Panel, stained glass, by Man Chagall with the two themes of 'Peace' and
'Man'
Paperweight, Baccarat, mauve double clematis
Paperweight, Baccarat, pansy with a starcut base
Paperweight, Clichy, patterned millefiori miniature ..
Paperweight, St. Louis, crown ..
Plaque, mosaic, glass, with Apis bull before offering table, Egyptian (colour
plate)
Punch bow l, the Libbey, cut by John Rufus Dcnman of the Libbey Glass
Company, Ohio, 1903
Vase, amber fed form, C hinese, K'.mg Hsi
Vase, opaque, i hinoiseric, South Staffordshire
Vase, yellow, Chinese, seal mark and period of Ch'ien Lung
Jade
Vase, nephrite, in form of an opening water lily carved out of a single piece
of Siberian jade, mounted 111 gold and enamelled in the Renaissance
style, set with rubies and diamonds, by Carl Faberge (colour plate)
Jewels and Jewellery
C up, covered, of prase, 111 gold settings with enamel and jewels
Figure. The Blue I 'emis, carved from a sapphire, standing on silver trellis set
with rose diamond flowers
I )itto — detail of ruby intaglio seal, engraved with head of Medusa, mounted
in the base
Jewel, gold, inlaid with semi-precious stones, pendant is the young sun-god
w ho is bom from a lotus flower, Egyptian, early Ramesside, c. 1 ioo
B < (colour plate) . . . . . . . . . . September
I )itto — reverse (black and white)
Neck lace, gold, Chimu, Peru, AT ). 1 200-1300. .
Necklace, gold, with floral and vase pendants, Egyptian (colour plate)
Neeklaee, tiara, diamond, Victorian
Pendant, gold, ram's head, Egyptian, from Nuri
Pendant, hippocamp, 2 views, back and front, Florentine (colour plate)
Pendant, merman, Florentine (colour plate)
Pendant. Virtue, mastering a dragon, Florentine (colour plate)
King, gold, inscribed with the name of the goddess Mut, Egyptian (colour
plate)
Ring, gold, with lapis lazuli scarab inscribed by Sheshonk III, Egyptian
(colour plate)
Tiara, diamond, indiv idual floral motifs mounted on heavy gold wire, prob-
ably French, early XIX century
Toothpick, Florentine
259
261
45
24 1
263
42
42
42
42
120
165
181
248
[81
203
'43
203
203
'over
49
1 1 2
1 20
249
118
1 ;8
138
1 ;8
1 211
202
1 i9
Medals and Coins
Coin, Philip IV gold piece, 100 scudos, 1633, Segovia mint, obverse and
reverse . . . . . . . . . . . . . . 246
Coins, 3, from exhibition 'Collectors and Collections of Coins' at the Hotel
des Monnaics, Paris . . . . . . . . . . . . 40
Medallion, bronze, representing Anne of Austria and Louis XIV, by Varin,
dated 1 64 J . . . . . . . . . . . . . . 35
Medallion, Louis XIII as a child, by Guillaume Dupre .. .. 107
Metal work
Mirror held by a Nubian girl clutching a duckling, bronze, Egyptian . . 52
Mirror held by a young girl wearing a bead girdle, bronze, Egyptian from
Semna . . . . . . . . . . . . 53
Seal, latten, borough, XIV century .. .. .. .. .. .. 178
Miniatures
Lady with a pink ribbon, A, by Jeremiah Meyer
Notker Balbulus as a pensive poet in his cell, XII century
179
82
Glass
Ale-gl.rs bowl, with moulded dimple ornament, int.u t, from I loney 1 ane,
I lizabethan . . . . . . . . . . 259
All 'I 1 fragment ol lower bow l, green, decorated with flute and lozenge
moulding, from Honey Lane, Elizabethan .. 26\
Ale-glass fragment of rim, green, de< 01 a ted with flute and lozenge moulding,
Iroiu Woodt besti r, Elizabethan 2ti t
Ale-glass, g, en wiythen, base and run fragments, mounted on sketched
reconst uction, from Honey Lane, Elizabethan. . .. 260
Miscellaneous
Coach, Tom Thumb's, c. 1843 .. .. .. .. .. 249
Photograph of Mr. S. Nystad, President ol the I 'uti h Assoc iation ol Antique
Healers, presenting silver-gilt plaquette to Mr. de Beaumont,
immediate past president of the Bniish Antique I )calcrs' Asso< iation,
to celebrate B. A. I). A. 's recent Golden Jubilee .. .. .. .. 33
Photograph of Vu tory by Alfred ( lilbert, w I ( lilbcrl showing a miniature
version to his assistants in his Bruges studio, c. 1906 .. .. .. 149
Photograph of William Morris aged about 53 .. .. .. .. 212
x
INDEX
Mosaic PAGI
Mosaic, depicting the cycle of the year, from Haidra, Tunisia, III century . . 2(13
Paintings and Drawings
Admiral Zeilen, Amsterdam, The, by Abraham Storck .. .. .. 103
Adorations of the Shepherds, by Giovanni Mansueti .. .. 13
Allegorie de 1' Air, by Jan Breughel the Elder .. .. .. .. 35
Aperitif, by Georges Bottini, watercolour .. .. .. .. .. 241
Archway, Venice, by James A. McNeill Whistler, pastel . . . . . . 269
As the Old Sing, so the Young Twitter, by Jacob Jordaens, black and red
chalk, brown wash . . . . . . . . . . 258
Atalanta and Meleager, by Sir Peter Paul Rubens .. .. .. 214
Ballplayer and his Page, A, attributed to Calderari .. .. .. 1;
Banker and his Wife seated behind a Counter, A, by II Gucrcino (Giovanni
Francesco Barbieri), pen and brown ink . . . . . . . . 43
Banks of the Seine, by Eugene Boudin .. .. .. .. 242
Barber Shop, by Edward Hopper . . . . . . . . 270
Bargaining for a Horse, by William S. Mount . . . . . . . . 268
Battle of Britain, by Paul Nash .. .. .. .. .. .. ..17 s
Battle of Camperdown, 1797, by Philip James dc Louthcrbourg .. .. 247
Battle of Leghorn, 1653, by Pieter Coopse .. .. .. .. 239
Beach at Scheveningen, The, by W. R. Sickert (colour plate) .. .. u
Biche forcee a la Neige, by Gustave C lourbet . . . . 1 X 1
Blue African Lily and Purple Coronilla, by Thomas Robins the younger,
watercolour with body colour . . . . . . . . . . 24S
'Blue Silk Dress', portrait ofjancy Morris, by Dante ( iabriel Rossctti . . 207
Buildings by a lake, by J. M. W. Turner, w atercolour over pencil (colour
plate) . . . . . . . . . . 245
'Cabinet Physique' of Bonnier de la Mosson, The, by Jacques Lajoue, detail [95
Canal scene with lock, by George Sheffield, sepia wash .. .. 163
C apetown, by Solomon Caesar Malan, pencil, reed pen and watercolour . . 94
Capillary Action No. 2, by James Rosenquist, mixed media ..67
Chemin du village. Le. by Achillc Laugc . . . . . . 36
Children of Garret and Helena De Hyse Rapalje, by John Durand . . 26S
Chinese characters used 111 Japanese calligraphy, by Solomon Caesar Milan,
vermilion and indian ink . . . . . . . . . . . . . . 93
Christ at Emmaus, by Marco Marziale .. .. .. .. 12
Coal Waggon, The (Toute de Londres, L'Attelage a Tmis Chevaux, Le
Chariot), by lean Louis Andre Gericault, watercolours over black
chalk outlines . . . . . . . . . . 221;
Collation sur I'herbe, La, by Claude-Joseph Vernet .. 17V
Composition for a concave wall, by Bo Besko, mural .. 264
Composition with red, blue and green, by Mondrian . . ..41
Cotta, Ceylon, by Solomon Caesar Malan, watercolour . . 95
Course of Empire — 'Desolation', by Thomas Cole .. 269
C'rau from Mont maj our, La, by Vincent Willein \ an ( logh, reed and tine pen
with light and dark-brown mk over black chalk .. ..231
Crucifixion. The, Swiss, XVI century .. .. .. .. 35
Culzean Castle, Ayrshire, by William Clarkson Stanfield .. .. .. 77
Death portrait of William Morris, 3 October 1 S<jf>. by Charles Fairfax-
Murray . . . . . . . . . . . . . . ..212
Design for a cassone, by Bernardo Buontalcnti, drawing .. .. 140
Design for the costume of Amonia Doria 111 the first intermezzo of 1 s Si^, by
Bernardo Buontalcnti, drawing .. .. .. .. 141
Design for the stamped leather binding ot the Kelmscott Press 'Chaucer',
by William Morns . . . . . . . . . . 207
Design for Wall Decoration, by Jacob Jordaens, black and red chalks w ith
brown wash .. .. .. .. .. .. .. ..255
'Design to connect the Entrances into Hyde Park and St. [ames's Park with
a Monument to commemorate the victories of Trafalgar and Water-
loo . . .', by Joseph M. Candy, watercolour .. .. .. .. 180
Destroyer picking up survivors, by Richard Eurich .. i~s
Drawing of a woman, by J. L. David .. ..176
Drawings, by Bernardo Buontalcnti .. .. .. .. 14 3
Dunstanburgh Castle, by T. M. Richardson, watercolour .. .. .. 163
El Barrath, by Solomon Caesar Malan, reed pen .. .. 95
Evening Reflections: a lakeside scene, by George Barret. |nr., watercolour 102
Femme au chien Afghan, by Pablo Picasso .. .. .. .. ..241
Field of Poppies, Appledore, by Childc Hassam, watercolour (colour plate)
November cover
Figure study for 'La Grande |attc' (Le Couple, La Promenade), by Georges
Pierre Seurat, conte crayon .. .. .. .. .. ..231
Fish and Crab from Lake Tiberias, by Solomon Caesar Malan, pencil and
watercolour . . . . . . . . . . . . . . 95
Flowers 111 a Vase, by Nicolas Van Verendael (colour plate) December cover
Forms Follow Man, by Mark Tobey, tempera on cardboard . 67
Four Fathers ot the Church discussing the Immaculate Conception, by Dosso
Dossi (Giovanni di Luteri) .. .. .. .. .. 13
Fresco, by Bo Beskow . . . . 265
Gentleman w ith his bay hunter and dogs 111 a landscape, by Thomas Gooch . . 102
Girl standing with her Pet Finch on a Terrace (Anna Catherine Jordaens), by
Jacob Jordaens . . . . . . . . . . 255
Girl with Field-glasses (Femme a la Lorgnette, Lyda), by Hilaire Germain
Edgar I )egas, oil paint thinned with turpentine on 11k paper .. 230
Grand Spectacle, A, by unidentified English artist, dated Novi mbcr 9th,
1837 .. • • 77
Great Black-backed Gull, The, by Basil Edc, watercolour 36
Paintings and Drawings — continued pagi
Green, by Michael Kidner, acrylic .. .. .. .. jo
Groom Leading out a Horse, by Jacob |ordaens, watercolour and body
colour over black chalk .. .. .. .. 2S4
Grotto in the Campagna, A, byj. R. Cozens, watercolour . . 246
Group of figures in Greece, by Solomon Caesar Malan, pen impression 97
Head of a Woman, by John D. Graham, oil, chalk, ballpoint pen, colourci
pencil, pencil, brush, pen and mk on tracing paper .. .. 271
Highland Fair, by Samuel Austin, watercolour. . .. .. .. 163
H.M.S. Victory and a squadron anchored in the Bay ol Naples, by J. W.
Carmichael . . . . . . . . . . . . . . s
Hommage a J. S. Bach, by Georges Braquc
Inondation, L', by Alfred Sislcy . . .. .. .. ii
Interior of an inn, by Thomas Wyck .. .. .. ..2?
Interior with Holy Family and Attendants, by |acob Jordaens, red and black
dialks and w ash
Invisible Man, The, by Salvador Dali
Isle of Trinidad, by Solomon Caesar Malan. pencil ami wash
Jason Charming the Dragon, by Salvator Rosa . , . . 200
Jcunc fillc de profil, by Pierre-August Renoir .. .. 11^
Juno, by Rembrandt ........ .. 200
King and Queen ot Bohemia dining 111 public 111 Whitehall, waited on by
Lord Digby, The, by Bartholomews v an liassen . . 246
King Drinks, The, by Jacob Jordaens, black chalk, pen ami brown ink,
w atercolour and body colours .. .. 238
Kurhuis at Scheveningen, The, by W. R. Sickert . . 10
Lake Como, by Sandtord R. Clifford .. .. .. 269
Lancaster Castle, by Henry William Pinkham .. .. .. ..74
Landscape near Windsor, by Henry Bright .. 102
Landscape with figures, by Sebasticn Vrancx, one of pair .. .. 23N
Lever du Soleil a Rouen, by Camille Pissarro .. .. 99
Light bay hunter. A, by Ben Marshall . . 247
Lines Were Deeply Etched on the Map of her Face, The, by James Rosen-
quist . . . . . . . . . . . . . . . . 67
'Madame Mere', portrait of the mother of Napoleon I, by Baron ( Jcrard . . 40
Madonna and Child Visited by the Child St. John and his Parents, by Jacob
Jordaens . . . . . . . . . . . . . . , . 257
Madonna and Child with St. Anne, by Sir Anthony Van Dyck . . 24S
Magdalen lower. Oxford, by Solomon ( laesar Malan, pencil sepia wash on
white paper . . . . . . . . . . . . 92
Male Nude NMs. by Paul Cadnus, crayon on toned grey paper 135
Man riding horse with dog along side, by Joseph Craw hall 44
Mankind's struggle tor a lasting peace, by Jose Vala Zanetti, mural . . 2f>s
Martyrdom ot Saint Andrew, by lean Baptiste I )eshaycs . . 107
Memorable run with the Quorn, A, by John F Ferneley, Sen. 247
Monrcale, Si( ily, by Solomon Caesar Malan, pencil and watercolour 96
Mural, one ot two 'War' and 'Peace', by Candido Portinari . . 202
Nu assis, by 1 lenri Matisse .... 249
Nude Woman Standing (a study for La Navigation*), by Pierre Paul
Prud'hon, black chalk heightened with white on blue-grey paper . . 53
Original frontispiece for a descriptive album on the ( larcnce Tomb and its
heraldry, by Alfred Gilbert, watercolour and gold leaf . . SS
Peace Concluded, by John Everett Millais .. 1-;
Peak Family Group, by Charles Willson Peale. . . . 26S
Pcnsee, La, by Pierre-Auguste Renoir .... .. 101
Personal Values, by Rene Magritte .. 135
Plage de Trouville, La, by Eugene Boudin .... 100
Poet and Poem, by Mitsuoki Losa, ink and paint on paper mounted on silk r>s
Pooh, Parts . The, b\ ! H. Shcpard, the original pen and ink drawing from
' Winnie-the-Pooh' by A. A. Milne .... ..45
Portrait ot Arthur Athei lev as an Etonian, by Sir Thomas Lawrence 1 34. 222
Portrait ot C ount Shuvaloff, by Mane Elizabeth Vigee-Lebrun 201
Portrait of Dorothea Jordan, by Gainsborough Dupont 227
Portrait ot Elizabeth Pope as Queen Katharine 111 Henry [ 'III, by Gains-
borough Dupont .... .. 224
Portrait ot Emma Van Name, by unknown New York artist 110
Portrait ot George Washington, by |ames Sharpies .. ..71
Portrait of Giovanna Baccelli, by Gainsborough Dupont .. 221
Portrait ot a girl holding a golf club, by Albert Cuyp 1 1 1
Portrait of Gouvernor Morris, by Ezra Ames 269
Portrait ot Isabella Mattocks as Louisa 111 The Duenna, by Gainsborough
Dupont . . . . . . . . . . 22 s
Portrait ot' Jane Trythosa Wallis, afterwards Mrs James Campbell, as
Imogen 111 Cynibe'ine, by Gainsborough Dupont . . 227
Portrait de lean Monet, by Claude Monet .... 101
Portrait of Johann C Christian Bach, by Thomas Gainsborough 22 ?
Portrait ot John Quick as Spado 111 The Castle of Andalusia, by Gainsborough
1 )upont . . . . . . . . . . . . . . 224
Portrait ol Joseph George Holman as Edgar in King I 011, by Gainsborough
I )upont . . . . . . . . 222
Portrait ot M. C harles Hayard and Ins Daughter Marguerite, by J. A. D.
Ingres, black lead ...... . . 228
Portrait of a Man, by J. B. Greuze 172
Portrait of May Morris, by Dante ( iabriel Rossctti. coloured chalks 20S
Portrait of Nicholas Claude Fabn de Peiresc, attributed to 1 .mis Finson 2 1 S
Portrait ot Princess Anna Alexandrovna Galitizin, by Mane Elizabeth Vigee
Lebrun
Portrait of Thomas Harris, by John Opie .. .. .. .. . 221
xi
INDEX
Paintings and Drawings continual paci
Portrait of Willi.im Farrcn, by Gainsborough Dupont .. 223
Portrait study "I a lady, by I liomas Gainsborough, bla< k .11 id white 1 halks . 1 1 1
Preliminary plan and elevation t < > 1 Townscnd's building at Rousham,
Oxfordshire, 1 1736, by William Kent, drawing 111
()uccn Katherine's 1 )re.un, by William Blake, watcrcolour 134
K.imbow, byjame McGarrcll .. .. .. .. .. .. 201
Rape of Proscr| ne, The, by Franccsc o de Mura .. 37
Rape of the Sabincs, The, by Johatin Hcinrich Schcinfeld .. .. 31
Saint Barbara, Morax ian, earls \ I X century, painting applied to the back <>!
gl iss . . . . . . . . . . . . . . . . 106
s.mit I! ii.i with .1 ( halio in 1 Mountain Landscape, by Giovanni
.itonio Boltraffto . . 14
St. I n hi ol Aquitainc, !>\ II ( iuen ino . . . . 176
Salmi Venice, The, by David Roberts .. 239
Sautern with Fred Archei up, by |( < 1 1 1 1 Frederic k Archer, Snr. 1 1 \
1 n n, t w * i told, showing an armed Dutch nun li nn ship, |apanese, earl v
Will c entui y . . . . . . 43
Self-portrait, by Henryk Gotlib .. .. .. .. 105
Self-portrait, by Nicolas Poussiu .. ..15
Si n e p with gate and shelter, by William Huggins, watercoloui 1 62
Shepherd and Shepherdess, by Sh Petei Paul Rubens .. 213
Shipbuilding at Blackwall Reach, by Dominic Series 17V
skcti h foi Apollo .mil the Python in tin third intermezzo of 1589, by
Bernardo Buontalenti, drawing .. 141
Sketch for canopied ( larence I omb, by Alfred Gilbert, drawing 88
Sketch lor the 1111 mut. 1111 11I the Hamadryads 111 the second intermezzo ol
1 589, by Bernardo Buontalenti, drawing .. 142
Sketch of Scheveningen, by W K Sukcit .. .. 9
Soldiers and peasants in a classical capriccio, by G. P. Pannini . . 37
Starting post at Newmarket, 1716, by John Wootton 180
Still 1 ile, by I lubert van Uevesteyn . . 1 in
Still Life with Lemons, by Pieter Clacsz . , .. 1 10
Studies ot .1 seated Arab (Arabe Assis), by I ugene Delacroix, hl.uk and red
1 1 1.1 Ik and waterci ilours, heightened with white, mi br< >\\ 11-grey paper 2 2v
Stud V for ' 1 wo Sisters', by |i 1I111 I I ( ,1 alia in, t l a v< in, wash, pent il and brush
on tracing paper . . . . . . . . . . . . . 271
Study ofjaney Morris, by Dante Gabriel Rossetti, pencil .. 207
Study of a woman, by Steinlein, charcoal .... 240
Table Mountain, bv Solomon t acsar M.1I.111, watctioloui < j 4
"Teaching 1922-29, Schlemnier's, tig nunc "de-uiaterializatii in, drawing 1 s.s
Triple portrait of Charles I, by Sir Anthony Van Dyck 217
I yre, In Solon 1011 ( acs.n Milan, reed pen, pent il and watercolours . . 96
Untitled, by Graham Bu h, aery lit on plyvvoi id . . 38
Vase de Pi\ nines, I c. by Henri Fantin-Latour .. 99
Vaudcs 1 Ile. by l harlcs Demuth, pent 1 1 and watercoloui on paper . . 270
Via Sheen, by Kenneth Noland, acrylic on canvas 39
View of Florence from Bellosguardo, by rhomas Patch 179
View of Northwick Park, by John Glover .. ..77
View of Pyrford, Surrey, by F W I Inline 172
View ot Klieuen Ironi the l ast, A. bv |an van Goyen .. .. 103
View of St |ames's Palace, by Hendrik Dankerts .. ..75
View of the street and mosque ot( ihooie\ ah, < .1110, In I F. lew is 247
View ol the I ha 1 nes and the I louses oi Parliament, by John Audi rson . . 7C1
View of the Thames and St Paul's, by Hendrik Dankerts .. ..76
View ol the I hames from near Westminster Hi idge, A, by Samuel Scott 43
View ol rivoli.by Bartolomeus, Breenbergh, ink and wash on papei 200
View of Westminster, A, by William Marlovs . . .. .. .. .. 73
Virgin adoring the Child, The, by Lorenzo di < redi .. .. i s
Virgin ami ( Inld with St. Anne and lour Saints, by ( losimo Rosselli . . 14
Waterfalls, Pisti! Mawddacb, North Wales, 1 he. by Samuel Palmer. . 17s
Wayfarers and peasants on a country road, by |an Brueghel .. .. 112
White Canoe, The, by Alfred Munnings .. .. 1 7 1
Windsor Castle from the River, by Jan Siberechts .. .. .. 75
Woman Ironing, by Edgar Degas .... 17S
Young Woman in a Plumed llat (Elizabeth |ordaens), by [acob |ordaens
(1 oloui plate) . . . . . . . . . . . . . . . . 256
Pewter
Basin, I em pe ra nt 1.1 , detail troin. Aqua, by Francois Briot, i 1 585-1 590 012
Ewer, by Francois Briot, 1 1 58s- 1 590 . . . . . . . . 193
Pottery and Porcelain
\iiiuk is. turquoise laience, six, ol Africanized Egyptian deities, Egyptian,
from Meroe . . .'. ' . . 122
Bowl, bine and white, irly Ming, si\ character marl, ol I Kuan I c, XV
< entury . . . . . . . . . . . . . . 181
Bowl, Kosi ibe, lapanese, signed Kosobei, early XIX century . . 1 1 2
1 entrepiet c from Count BriiliEs Plate de Menage, Meissen, 10 issed swords
in nk. modi Neil In | | Kami u . . . . 43
Charger, pa in ted with Cupid, Lambeth . . . . 4 s
t harger, Royal, w ith portrait ol ( harlcs I, I ainbcth I i, In, dati il 165X . . 4s
( up, Pah "-ware. < crcs and Bacchus, French, second half XVI century [91
I )inner and dessert service, faience, Milan, Felice Clcrici's factory, c. 1 770 . . 1 80
I >ish, blue undergla/e, iron-red and gilding. Bow, c 1760-65 . . . . 243
Pottery and Porcelain continued PAGE
Dish, lead-glaze earthenware, manner ol Bernard I'ahssy, French, second
half XVI century ... ...... 1X9
I >ish, Palissy-ware, The ( je.it ion ot Eve, Frem h, second halt XVI century . . 1 89
Dish, Palissy-w.ire, Trent h, early XVII century .. .. ..1X7
I >ish, Palissy-ware, Trench, XVI century 1X6
Dish, Palissy-ware, Trem h, sec ond halt XVI century . 1X7
Dish, Palissy-ware, French, second half XVI century . ixx
Dish, Palissy-ware, Ihe Nvuiph of Fontaincbleau, French, second h..!f XVI
century . . . . . . . . 101
I )ish, Palissy-ware, Pomona, I rene h, second halt XVI century . . . . 192
Ewer, Medici porcelain . . . . 141
Ewer, Palissy-ware, French, late XVI-carly XVII century .. 193
Figure ol Brazilian vulture, Meissen, modelled by |ohan |oachim Kaendler,
[734 (colour plate) .. .. .. .. .. October cover
Figure of dancing girl, 'Girl in a swing' . . .. .. .. 249
Figure ot mythical lion, white-glazed, Chinese, I 'ang dynasty 1X0
Figure of owl. Longton Hall Si ops, on a Ttirstenberg socle .. 179
Figure of seated pug, Lowestoft . , 164
Figure of standing pug, painted in enamel colours, Lowestoft 164
Figure ot standing pug, undecoratcd, base damaged, Lowestoft . . 164
Figure ot I hueris, goddess ol 1 hildbirth, w hite and grey-blue, Egyptian 122
figures, Kakiemoii, pair, |apancse, late XVII century 112
Figures, white chinoiseric, Bottger, pair, incised crossed swords mark within
a triangle 011 one .. .. .. .. .. .. .. ..113
Medallion, black basalt, w ith head ot Benjamin Franklin, impressed Wedg-
wood and Bentlv mark .. .. .. .. .. .. 179
Model, 'At Brighton', by ( leorge Tinworth, Doulton .. 235
Model, 'Going to the Derby*, by George Tinworth, Doulton 2?2
Model, 'Photographer, The', by George rinworth, Doulton 233
Model, 'Play goers', by George rinworth, Doulton .. .. 233
Monogram, the Louis C. Tiffany, used on tavrile pottery .. 61
Pastille burner, castle, lilac, Staffordshire .. .. 249
Pectoral, yellow faience, originally inlaid with other colours, Egyptian, said
to be from Mendes (colour plate) .. .. .. .. .. 120
Plaque, ' I lie Sons of t 'ydippe', by ( ieorge Tinworth, I )oulton 2 1 1
Plaque, wall, faience, one of pair, Alcora .. .... 24X
Plate, fish design, Marseilles w are, from the Robert factory 242
I'oi ami lid, painted red-ware, w ith sculptured ibex and heifer, Egyptian
(colour plate) . . . . . . . . . . . . . . 50
Shawabti ol Tuthmosis IV from Ins tomb at Thebes, faience, Egyptian
(colour plate) . . . . . . . . . . . . . . 50
I a//. 1, tax rile, 111 form of pond lilies w ith hogs at base. Tiffany . . . . 5X
Tea bowl, Japanese, Shino, XVIII century .. .. ..112
lea bowl. Japanese, Yamashiro, impressed marks Omuro and Toho, c. 1860 112
Tiles, faience, s. representing conquered peoples of the Ramesside Empire,
from Medinet Habu (Syrian, Philistine. Amoritc, Nubian, Hittite) 55
Tureen and cover, Chinese white export, after a European faience original,
X V 1 11 century . . . . . . . . . . 1X1
I ureen, cover and stand, chinoiseric, Meisse n, blue crossed swords marks 247
Tureen, unci ami stand, faience, decorated with flowers 111 blue. Slesvig,
1 770 ■ ■ 44
Tureen, ox-head, t.mulle-rose, ( h 'nil Lung .. .. 246
Tyg, bulbous, Wroxham, by George Richardson, 1652 .. 1X0
Vase, tavrile, design of pussy willows, Tiffany .. .. .. .. .. 60
Vase, favrile, with inverted tulips, Tiffany .. .. .. .. .. 59
Vase, porcelain, dec orated 111 black and beige. Sung. X century . . 34
Vases, tavrile. 3, decorated with designs of .1 flowering vine, stylized tern
fronds and quince. Tiffany .. .. .. .. .. 59
Vases, favrile, 3, with tulip, toadstools and gourd design, Tit). my . . 57
Vases, favrile, s, decorated with flowering plant, wild grass, corn, jack-in-
the-pulpit and ferns, Tiffany .. .. .. .. .. do
Scientific Instrument
Astrolabe, gilded copper, Persian, signed 'Ibn Muhammad Aniin Muhammad
Madhi al-Khadini al-Yazi and dated 1070(1659 A. D.) . . .. .. 44
Sculpture and Carving
Accomplishment of the Vow of loins XIII. Ihe by Philippe Hcmand,
bronze . . . . . . . . . . . . . ■ . . . . 196
Age of Bronzes, The, by Auguste Rodin .. 106
Altai wnh reliel ol Atlanersa holding up the heavens, ami deities tying
togethei the plains ol I !ppei ami I ower Egypt on Ills grey granite
stand for a solar barque, Egyptian, Gebcl Bark.il 118
Andromeda, by Robert I c I orrain, bronze . . . . . . . . 195
Anodizedah lium sculpture, by Ezio Martinelli .. .. .. .. 265
Aphrodite, Roman, 1 II century A. D., marble .. .. 246
Archangel Michael, Augsburg, first part XVII century, limcwood .. 30
Belt mask, Benin, early XVI century, ivory .... 133
Belt mask, early Benin, bronze .... .... 246
Block si. iiue ol Prince Mentuher-khepeshef, son of Rameses II, Egyptian,
Hub. 1st is . . . . . . . . . . . . . . . . . . 56
Bodhisattva 'Angaja' figure, c hincsc, bearing Chinese and Tibetan insc rip-
tions, bronze . . . . 35
Broken Shrine, The, by Alfred Gilbert, bronze .. .. .. [49
xn
INDEX
culpture and Carving — continued vai.i
ronze sculpture, by Robert Crombach . . . . . . . . 265
ust of Charles I, based on lost original by Bernini, unknown, XVIII century 218
ust of Colbert, Marquis de Seignelay, by Antoine Coysevox, white marble 34
lust of Rameses II, Egyptian, Bubastis .. .. .. .. .. .. 56
ust of young woman holding a ball of unguent(r), Egyptian, steatite . . S3
ust presumed to be a portrait of Bernard Palissy, French, late XVI century,
painted terracotta . . . . . . . . . . . . . . 185
tat on a papyrus column, Egyptian, bronze .. .. .. .. ..123
tlarence Tomb, by Alfred Gilbert .. .. .. .. ..85
■)itto — completed panel . . . . . . . . . . . . 90
)itto — detail, head of effigy of the Duke of Clarence .. .. .. .. 91
)itto — plaster model, March 1X92 .. .. .. .. .. .. 86
Oitto — ditto, 1894 .. .. .. .. 87
)itto — Progress photograph of effigy, 1 893 .. ..86
)itto — progress photograph of sketch panel, c. 1 896 .. .. .. 89
Daphne and Apollo, in style of G. B. Foggini, French Royal Florentine,
bronze ■ . . . • • ■ ■ . • . . . . 181
)warf or pigmy holding an unguent jar, Egyptian, ebony .. .. .. 52
questrian figure symbolizing 'Peace', by Antun Augustincic .. .. 266
Equestrian statuette of the Grand Dauphin, by or after Martin van dcr
Bogaert (known as Desjardins), bronze . . .. .. 198
'.ros, by Alfred Gilbert, larger version . . . . . . . . . . 23
)itto — miniature.. .. .. .. .. .. .. 23
.ternel Printemps, by Auguste Rodm, bronze . . . . . . 66
iawcett Memorial, The, by Alfred Gilbert .. .. .. .. 23
)itto — detail of figures .. .. .. .. .. .. 24
Oitto — ditto . . . . . • • • . . • . . . . . 2 s
figure of Apis bull, Egyptian, bronze .12 3
;igure of Buddha, Kashmir, IX-XI century, bronze .. ..45
■igurc ofjuno, cast from original wax niodello ol Benvenuto t ellini, bronze 1 1 1
■igure, male, Gaboon, Fang tribes, wood .. .. 13 3
'rileuse. La, by or after Jean Antoine Houdon, bronze 198
latshepsut as King 011 a fragment ol .1 red granite obelisk, Egyptian, Karnak si
lead of Amenhotep II, Egyptian. Htt, w hite crystalline limestone S3
lead of Amenhotep III, Egyptian, brown conglomerate . . 54
lead, the Boston Green, Egyptian (colour plate) 120
lead of a god with the features of Tutankhamen, Egyptian, sandstone 55
lead of a goddess w ith the features of Queen Tiy, Egyptian, mottled green
stone (colour plate) . . . . SO
lead of a man wearing a lotus-bud diadem, Egyptian, dioritk basalt 121
lead of an official of Athribis, Egyptian, grey diorite .. .119
lead of Pharaoh, Egyptian, stone .. .. .. .. 3 s
lead, portrait, of a w ooden statuette, Egyptian, said 10 he from 1 lermopolis 121
earns, by Alfred Gilbert . . . . . . . . . . . . . . . . 22
ntegral, by Isamu Noguchi, Greek marble ..13s
Let us beat swords into ploughshares', by Evgeniv Vughctu li 2t>2
^ocking piece, 1962 3, by Henry Moore, bronze .. 108
vlaquette tor monument ot Nicholas Rowe, by 1 M. Rysbr.u k, terracotta . 247
vlodcls for figures for Queen Victoria's Jubilee statue at Winchester, by
Alfred Gilbert, 2, plaster .. .. ..26
xJessus and Deianeira, French, r. 1 690, bronze . . .. [99
Mvmph Dandling an Infant Satyr, by Pierre-Phillippe I homire, bronze 196
Jerseus Arming, by Alfred Gilbert .... 22
'ortrait bust ot Cardinal Francesco Barberini, b\ < iuiliano Finelh 220
Portrait bust, Elsa Mcloghlm, by Alfred Gilbert, bronze ..150
?reliminary course, [923-33, by Joseph Albers, corrugated cardboard, fold-
ings. . . . . . 1 58
Recumbent bacchante, attributed to Etienne-Maurice Falconet, bronze . 199
Relict, detail from, showing a portrait ot the deceased. Egyptian, limestone . 122
Relief from the throne base ot a statue inscribed by the King Ay from
Karnak, showing a Nile god with the features of the king, Egyptian,
grey marble . . . . . . . . . . . . . . 55
Rehet showing Akhcnaten as .1 sphinx, Egyptian, Amarna, limestone S4
Relief showing the rooms ot the Palace at Amarna, Egyptian, Am. una,
limestone . . . . . . . . . . 52
Rehet with butchering scene from the tomb of Mentuenih.it, Egyptian,
Thebes, limestone .. .. 118
Relict with men in a papyrus marsh, probably from th>- tomb of Mentuciu-
hat, Thebes, Egyptian, limestone .. ,.119
Roundel, by Alfred Gilbert .... ..25
Russell Memorial, Chenies, Buckinghamshire, by Alfred Gilbert, central
portion, bronze ...... 148
St. Catherine, by Alfred Gilbert, plaster model . . ..15]
St. Catherine, the Miraculous Wedding, by Alfred Gilbert, bronze 1 s 1
St. Catherine of Sienna, by Alfred Gilbert, bronze .. ..151
St. Edward the Confessor, by Alfred Gilbert, polychrome bronze 149
St. Elizabeth ot Hungary, by Alfred Gilbert, polychrome bronze . . 148
St. George, by Alfred Gilbert, bronze .. .. 148
St. George and the Dragon led by Victory, by Alfred Gilbert, bronze 1 SO
St. George from the Jubilee epergne, by Alfred ( lilbert 27
St. George, Sandringham Parish Church, by Alfred Gilbert, detail 27
St. George, working model, by Alfred Gilbert, aluminium 1 46
St. Michael, by Alfred Gilbert, polychrome bronze .. .. ..14 s
St. Nicholas, by Alfred Gilbert, plaster model . . 151
St. Paul the Apostle, by Eh'rgott Bernhard Bendl, limewood ..32
Segment ot column from a building at Amarna, showing 1 : ,1 >f the
royal family, Egyptian, limestone . . . . . . 54
Sculpture and Carving — continued PAG]
Seisin figure, Japanese, Kamakura period (1 I 85-1 33 i), wood with lacquer 65
Side bands, 1968, by Hugh Riddle and Anthony Pritchctt, still of a kinetic
sequence produced by an analogue system . . . . . . 174
Single Form, by Barbara Hcpworth, bronze . . . . . . 266
Sketch model for grille panel ot ( Clarence Tomb, In >w ing early St. ( Icorgc
by Alfred Gilbert, plaster . . .. .. .. .. .. ..145
Sketch models ot four of the 'Saints', detail of plastei til lei of the Clarence
Tomb, by Alfred Gilbert ..146
Standing figure (knife-edge), 1961, by Henry Moore, bronzi (1 lour plate). .
Startled Owl, by Pauta, stone cut in black and green
Statue of King Haker, Egyptian, granite .. .. .. ..1
Statue of Mane Lesczinska, Queen of Frame, as Juno, after Cuillamne
Coustou, gilt-bronze .. .. .. .. 197
Statue ofSennuwy, Egyptian, Middle Kingdom . . 56
Statues, colossal, of the rulers of Kust, Anlamani and Aspelta, Egyptian,
Ciebel Barkal, granite .. .. .. .117
Statuette ot a man, Guatemala, IV to VII century, classical pel iod, jade 4 1
Statuette ot the Prophet ot Amen Khonsu-ir-aa, Egyptian, bla< k diorite 1 19
Study for a mechanical window display, by Franz Ehrlich, kinetic sculpture 157
Tomb of Mary of Burgundy. St. John's Church, Bruges 87
Tragedy and Comedy, by Alfred Gilbert .... 27
Tribute to Hymen, by Alfred Gilbert . . . . 22
Two elements, 1968, by Brian Wall, welded steel painted dark blue . . 240
Untitled I, by William Pye .. .. .. .. 10 s
Vertummus and Pomona, by Robert Le Lorrain, bronze . . 194
Victory, by Alfred Gilbert . . . . . . . . . . . . 26
Victory, by Alfred Gilbert ...... 141;
Virgin, The, by Alfred Gilbert, polychrome bronze .. 144
Virgin, The, variant ot a figure on the Clarence Tomb, by Alfred Gilbert.
polychrome bronze (colour plate) . . 147
Zeal, by Alfred Gilbert, restored bronze previously modified by another
hand . . . . . . . . . . . . . . 24
Silver and Gold Plate
Basm, by Wenzel Jamnitzer, German, XVI century [88
Beaker, 1 >utch, possibly by ( lornelis C. Roos, I ecuwarden, 1622/3 . . 1 8 1
l Candlesticks, figure, William III, pair, by Anthony Nclmc, 1 ondon, [697 . . 2 36
Casters, George I, set of three, by Thomas Bam ford, 1720 .. 24 s
Centrepiece representing St. Mauritius, assay mark A/.Y. identity of the
goldsmith is m dispute: either Johann I Launch Manlicll or Hans
Manhart . . . . . . . . . . . . ^ 1
( cut re piece-. siK c 1 -gilt, Nereid ruling a Triton, by 1 obias Zeiler, 1 62 s- ) s JO
( lock-salt, silver-gilt, Royal Tudor, enriched with cameo busts and semi-
precious stones, by the same hand as the Corbet 111 Mantua Cathedral
w liu h bears a Pans mark for 1 s 3 2 - 3 , maker's mark li 24 i
Coffee pot. Octagonal, Queen Anne, by Colin McKenzie, Assay Master
Edward Penman, Edinburgh, 1713 236
( up and < over, traditionally known as Queen Elizabeth I's coronation, 1554,
gilt and enamelled with the arms of Sir Martin Bowes who pre-
sented it to the Goldsmiths' ( Company in 1 561 . , 28
t up, covered, pare el-gilt, maker's mark a c row n. Elizabeth I, 1 593 1 79
Dish, centrepiece, crown or richly gilt modelled and cast radiating bars, m
centre the arms ol the City of Coventry, designed by Alex Styles of
( iarrards . . . . . . . . . . . . 29
Dish, repousse decoration of flowers and leaves, by George Lawrence
Council in London, 1903 .. ..42
Dish, sideboard, silver-gilt, in centre anus of the Worshipful Company of
Goldsmiths, by Paul de Lainerie, 1741 28
Dish, William and Mary, by Robert Cooper, 1692 .. 111
Ewer, helmet, silver-gilt, by Paul de Lamerie, 1741 28
Ewer, silver-gilt, bod) embossed with flowers, by Markus Wolf (1656-1716) u
Figure ot St Gall, w ith attribute of bear cu rs ing a log, silv er, partially gilt,
pedesial ebony, with coat of anus ot' the Prince-Abbot of St. Gall,
Bernhard Miiller, von Ochsenhauscn, goldsmith mark IC464 tor
Hans Jacob Blair (1 574-1628), a native of Mcrano, settled 111 Augsburn 78
Figure of St. Othmar, the first Abbot of St. Gall, goldsmith mark IC464. for
Hans Jacob Blair ( 1 574- 1 628) . . . . ' . . 78
Goblet, gold, engrav ed with coat-of-arms and monogram and an inscription
111 Latin, maker's mark Rli possibly for Robert Burton, c. 1775 -')
Honey pot, George III, by Paul Storr, 1800 .. ..44
Jug, covered. Queen Anne, by Alice Sheen, 1703 . . 4?
Maces, silver-gilt, ceremonial, pair, Charles II, no marks but of dati 1. [660. . 178
Madonna, silver— gilt, bv Johann K 1 1 1.111 ( 1 623-1 679) ■ • ?2
Mayor's badge and c hain, tor the London Borough of Southw.uk, in 18 ct.
yellow and vv lute golds, designed by Alex Styles ofGarrards . . . . 29
Plaquette, silver-gilt, by Messrs. Premsela and Hamburger, presented bv the
Dutch Association ot Antique Dealers to the British Antique Dealers'
Assoc iation, to celebrate their recent ( iolden Jubilee \ ?
Porringer, Irish Chinoiscric, maker's mark J.S. in monogram, probably by
John Segar, Dublin, 1685 7 .. 236
Salt cellar. I Hitch, by Gcrrit VuystilN k. The 1 Ligue, l6sS 1 Si
Salver, George II, on toot, one ot pair, by Paul de Lamerie, London. 1736,
2 v lew s . . . . . . . . . . . . . 237
Sauce-boat, George 111, one ot set ot four, three by Paul Storr. London, 1S12.
fourth by Robert Garrard, London, 1818 236
sin
INIH.X
Silver and Gold Plato nmtimietl
Timepieces
Spoon, by Povcl Nielsen, from Va, Sweden
Stirrup-cup, George III, by Thomas Pitts, 1761J
Sni^.ir basket mil te.i-« addy, George III, by William Plummer, 1773, in con-
temporary ( lunese lacquer and ivory case
Sugar box, Danish, I nun the Nicls.n Service, by Chr. I los< ic, I Copenhagen,
1 . . . .
rankard, h ■ and cover engraved with chinoiscric decoration, maker's
111.11 k II . I 111 .1 monogr 1111, 1683
Tankard, I he l umberland, < lei >rge II, engraved with st enes of tin.- battle of
I'Modcn, 174s, by Gabriel Sleath, London, 1746
Tea-< I) and sugar basket, George III, by Willi. 1111 Plummer, 1773, 111
ontemporary ( liinese lacquer and ivory case ..
V hammered finish and applied decoration, by the ( loklsimths and
Silversmiths ( cunpany, 1900
v\ inc cooler, silver-gilt, one ol pair, George III, by D'gby Scott .mil Ben-
jamin Smith, 1 805
Wine labels, 7, from the Ryall collet turn ol approximately 2,000
Wine-taster, of Kovsh form, Swedish, by Lars Mansson, Mariestad, i . 1 <>c> s .
2 views
Textiles : Carpet
Needlework, embroidered in cross-stitch on canvas on .1 yellow ground,
( leorgc 1 7 so
Textiles: Needlework
mbroidery, unfinished, for one ol the wall hangings at Red House, design
derives from William Morris's early sketch o) [aney (Burden) is
Queen Guencvere made about 1857
langing from Kelmscott, blue serge, embroidered by |aney Morris, her
sister Bessie and K.ite Faulkner
langing from Kelmscott, the 'It 1 can", embroidered by Willi. 1111 Morris
< I S S7
'anel, crewelwurk embroiders, polychrome wools on linen, one ol p. nr.
early Will century
'anel, marriage, embroidered in coloured wools, silks, gold and silver
threads, Swiss, dated 1610
Textiles: Tapestries
Icauvais, Les Pastorales a Draperies Rouges, after J H Huel
iel^i.m, designed In I'c.er ( oils, its predominantly green coloui being the
universal s\ mbol of life and the tr.ulitiou.il colour ol peace
Cabbage and Vine', designed by William Morris and woven by him in 1879
leinish, 'Gentleman Playing the Lute for lus Lady', No 4 of Scenes oj
(lowitry Lite, designed r. 1727-30
irand'mere I'.iris. l-arthly Paradise
Mortlake, 'The Uattle of Solebay', one of set of three ..
17V
180
1 H 1
246
29
237
181
42
I I 2
24V
I !
267
20'J
200
2'>4
253
107
j p;
( lotk. ornate, originally made lor .1 potentate of the Ottoman Empire and
consequently bears Turkish numerals, richly decorated with precious
stones, by 1 )avid Buschmann (1626-1701)
( lock-salt, siKer-gilt, Royal Tudor, enriched with cameo busts and scmi-
prct ious stones, by the same hand as (he coffret in Mantua ( Cathedral
which bears. 1 Paris mark for 1532-3, maker's mark li . .
243
Woodwork
Chessmen, carved olive wood, 6, German, c. 18H5 .. .. .. .. 66
Toilet box, wo< iden, lion on the left and a dog attacking a young bull on the
right, Egyptian . . . . . . . . . . . . . . 56
Works of Art
Automaton box, gold and enamel, Swiss, movement signed A. Rojard a
Geneve, No. 2174, early XIX century .. .. 246
liox and cover, gold lacquer and inlaid mother-of-pearl, [apanesc . . . . 247
( up, covered, of prase, in gold settings with enamel and jewels .. 143
figure. Vile Blue I enns,% carved from .1 sapphire, standing on silver trellis set
with rose diamond flowers .. .. .. .. 203
I )itto detail ol ruby intaglio seal, engraved with head of Medusa, mounted
in the base . . . . . . . . . . . . . . . . . . 203
Mead of a goddess, gold, mounted on .1 crystal orb, Egyptian, from El Kurru
(colour plate) .. .. .. .. .. .. .. ..120
Ibis, gold, decorated with glass fused 111 gold doissons, Egyptian . . . . 56
[ar, unguent, with animals, green-glazed steatite, Egyptian from Abvdos . . 56
Lion, gold, with mane of blue glass fused in gold cloissons, Egyptian
(colour plate) . . . . . . . . . . . . sO
Miniature sedan chair of eosite with gold mounts in rococo taste, engraved
rock crystal windows, chased gold interior and gold handles, lunged
at top, by Carl Faberge .. .. .. .. 202
Paperweight, glass. Baccarat, mauve double clematis .. .. .. 42
Paperweight, glass, Baccarat, pansy with a starcut base .. .. 42
Paperweight, glass, ( lichy, patterned millefiori miniature .. .. 42
Paperweight, glass, St. Louis, crown .. .. 42
Snuffbox, bloodstone, tar veil, mounted m gold, 111 form of a panther with
carnelian tongue and diamond teeth and eyes, ( .en nan. Will century 202
Snuffbox, gold and enamel, set with enamel plaques of mythological scenes
after Dodin, French, by Jean Formey, Paris, 1762 203
Snuffbox, pudding stone, carved, in form of a leopard, diamond eyes,
English, XVII! century .. .. .. .. 202
Sphinx, electrum, on column inlaid with stones and faience, Egy ptian, from
El Kurru (colour plate) .. .. .. .. ..120
Vase, nephrite, in form of an opening water lilv carved out of a single piece
of Siberian jade, mounted 111 gold and enamelled in the Renaissance
style, set with rubies and diamonds, bv ( arl Faberge (colour plate) . . 203
Vulture's head. gold, perhaps from the diadem of a queen or princess,
Egyptian (colour plate) .. .. .. .. .. ..120
XIV
PRINTED IN ENCLANI) BY
riLLOTSONS BOLTON LTD
BOLTON AND LONDON
fhe Connoisseur
September 1968
12s. 6d. $2.50 U.S.A.
The Antique Company of New York., Inc.
The Antique Porcelain Co.
Works of An
48 East 57th Street,
New York, N.Y. 10022
Telephone: 758-2363
Cables : Apocoyork, New York
Painted and Inlaid Mahogany Escritoire
with the Original Silver Escutcheons and Handles
Date: circa 1780
Height: 5 ft. 6 in. Length: 2 ft. 4 in. Width: 1 ft. 9 in.
Illustrated and described in "A History of English
Furniture; The Aye of Satinwood" by Percy Macquoid,
Page 207, figure 188.
Dr. Wall Worcester Yellow Ground Porcelain
Date: circa 1760
Spoon Tray Length: 6j; in.
Vase Height: 6.J in.
Pair of Mugs Height: 4| in.
149 New Bond Strei
London, W.i
Telephone: MAYfair 1254
Cables: Apoco, London
of London LTD
179/180 SLOANE STREET, S.W.I
Tel: BEL^ravia 3080
A fine Sheraton sofa-table of mahogany
crossbanded with rosewood and satin-
wood, having one drawer to either side.
3 ft. wide (5 ft. 6 in. extended) 2 ft.
deep.
The Connoisseur
SEPTEMBER [968
Vill.i Ccrro restored
A now ly discovered Sicken
Who w .is Solly = : s
Norwegian Furniture, 1660-1820
Alfred ( lilbcrl : 1
Five centuries of English Silver, .it Garrards
Baroque Art .it Augsburg
Ait news in pictures
liicnnalc tics lantiquaires a Paris
In thr ( lalleries
( !ontincntal 1 )ispatch
For the young collector
Intel national Saleroom
Books Reviewed
H< 11 iks Ret ci vei I
The American Connoisseur
The Age of Empire anil Rebellion
Tiffany Favrile Pottery
Connecticut Furniture reconsidered
The American Way with Art
( ' Si ptt nilvr [968. rsI.itioii.il Magazine Company 1 iniiccd
Cover
Egyptian ( loUl |ev\ el, inlaid with semi-precious stones. The pendant is the young sun-god who is hoi n
Ironi .1 lotus flower. Pieces of lapis lazuli remain. I he other remnants appear to he a glassy paste used
to hold the stone inlays. Early Ramesside, about 1 300 B.( I (eight of pendant, 7-20111. From the collec-
tion of ///c late Horace I.. Mayer and now in the Museum of l ine Arts, Boston, Massachusetts.
Colour Plates
Villa ( 'erro restored : I he Entrance ( !ourtyard, The 1 1. ill. I lie I )ining Room, The Principal Bedroom.
A newly disc overed Sickert : The Beach .it Schevcningen. Mr. and Mrs. Paul Mellon.
I he Age ot Empire and Rebellion: Faience shawabti <>t Tuthmosis IV, (!old Lion, Painted red-ware
pot and lid, Mottled green stone head <>t .1 goddess. Museum of Vine Arts, Boston.
Vol. [69 No. 679
CLIFFORD MUSGRAVE I
1 II I IAN 15 ROW SI' 9
FRANK HERRM AN 12
E.T.JOY (8
I A V I N 1 A HANDLEY-READ 22
28
WALTER 1)1 SACER ?()
33
34
ADRIAN BURY 36
GERALD SCHURR 40
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F.D W A R 1) L. IS. I I It RACE 49
M A RT I N P. EI DEI B ERG S7
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I he ( onnoisseur. Seplemln i , mr.x
II
Le Jupon Ecossais
PIERRE BONNARD
(1867-1947)
Signed: Lower Riyht: Bonnard
Ex Coll: Acquired from Bonnard by Bernheim-Jeune
Painted: I907
Exhibited: Salon Triennal d'Anvers, I920; "Paris In The Nineties"
Wildenstein, London, 1954, no. 7; ''Collections Particu
lieres", Musee Jacquemart-Andre, Paris. 1 961, no. 107
La Revue Blanche. Galerie Maeght, Paris. 1966
Recorded: Dauberville, Jean and Henry; Bonnard; no. 47 3
■^(4 c tic .
Gallery Hours: Tue: Sat. r ^0 5:30 m ?1 E B7th St • NY100?1 • IE 5-
Our contributors in this
issue include:
lillian browse: Author of the principal cata-
logue of the paintings of W. R. Sickert.
martin P. eidelberg: Assistant Professor of Art
History, Rutgers, University of New Jersey.
E. T. joy : authority on the history of English
furniture.
Clifford musgrave: formerly Director of the
Museum and Art Gallery and the Royal Pavilion,
Brighton.
Edward L. B. terrace: Associate Curator, the
Museum of Fine Arts, Boston.
1
Next I
month in I
The Connoisseur1
The October issue will include
American Banking and Georgian Elegance, by Clifford Mus-t
grave; a London town-house restored and decorated with!
English furniture and paintings by the Manufacturers']
Hanover Trust.
The Abbey of St. Gall Part 2, by Walter de Sager. Despite*
wars, revolutions and unscrupulous scholars the Abbeyfl
Library still contains one of the world's finest collections ofm
medieval and renaissance illuminated manuscripts.
Alfred Gilbert, a new assessment, by Lavinia Handley-Read.B
This second article tells the story of the Clarence Tomb atffl
Windsor and includes some previously unpublished photo-B
graphs of the design in progress.
Solomon Caesar Malan, by Philip Traub. A great orientalist ofl
the nineteenth century who recorded his travels in Europe,!!!
Southern Africa and the Far East with watercolours and J
drawings in many styles.
The Times- Sotheby Index : Impressionist pictures, by Geraldine
Keen. The first of an illustrated series recording interna-
tional price movements in various sections of the art market
since 1951 .
Urbanity and Verism - the late period in Boston, by Edward
L. B. Terrace. The concluding part of a series promoting an
appreciation of the whole range of Egyptian art by means of
the antiquities in the Boston Museum of Fine Arts.
Savannah Furniture and Cabinetmakers, by Mrs. Charlton M.
Theus. An exhaustive account of an aspect of eighteenth- and
early nineteenth-century American furniture which has;
attracted little research hitherto.
TEENTH CENTURY FRENCH FURNITURE ANO WORKS OF ART
44 EAST 57th STREET. NEW YORK, N. Y. 10022
TELEPHONE PLAZA 8-2297
A beautifully-shaped late Louis XV tabic decorated with fine
Marquetrie a la reiue. The top is enhanced with a central reserve ot flowers
and birds. The painted and gilded Louis XVI chaise a coifjer is one of the
rarest kinds of period seat furniture. The unusual six-fold screen has panels
of eighteenth-century Japanese painted paper in a beechwood frame by
( lanabas.
FOUNDED 1874 m BY H. WUNDERLICH
20 EAST 56TH STREET . NEW YORK 10022
By Appointment
to HM. Queen Elizabeth
The Queen Mother
ESTABLISHED: 1865
WW
By Appointment
to HM. Queen Elizabeth II
Jewellers
138 REGENT STREET, LONDON W.l
AND AT LLANDUDNO
By Appointment
to the late Queen Mary
mtwM
SAMPLE FROM OUR COLLECTION OF
OLD ENGLISH SILVER
fSUALLY COMPACT SILVER EPERGNE BY
JAMES YOUNG, LONDON 1780.
HEIGHT 21 INCHES.
M
Urn,
255 KING'S R
4
Telephone: rLAxman 0644
ITAxman 3127
Members
I INI. ST
We sr
inforn
ing a
18th C
North*
from 5
See: Les Ebenistes du XVIIIieme siecle:
Comte dc Salverte, page 64
also: Meubles et Sieges du XVIIIieme
siecle: Andre Theunisscn, page 40.
French: Last quarter of the [8th century: A highly
iportant French Louis XVI black ami gold lacquer
console a desserte signed CREIM.
Dimensions:
Maximum Width: 3 ft. 2 1 in.
Maximum Depth :
Maximum Height:
1 ft. 6 in.
1 ft. 10 in.
We acquire through enterprise with discrimination
FOR
We restore through expertise to perfection
We cxhi
J
LONDON, S.W.3
Cables: jeremique, London, s.w.3
association Ltd.
URNITURE
tunity of
e exhibit-
id French
'art at the
[arrogate,
o. 15.
he entire 1 8th century, St. Paul's Churchyard in London was the
"fine furniture making and it was here at 'The Castle' that William
John Ody had their workshops. Their trade label states that the firm
nd sells all sorts of Cane and Dutch chairs, chair frames for stuffing
: sashes. And also all sorts of the best looking glasses and cabinet work
Walnut Tree and Wainscot at reasonable rates'.
y was made liveryman of the Joiners company in 1723 and records
it m 1738 'the entire stock in trade, goods in the chair and cabinet
ringing to the late widow Old offered for sale at the Castle in St.
turchyard facing the south door of St. Pauls'.
idon Furniture makers 1660-1840 by Sir Ambrose Heal, pages 126,
page 232, tig. 14; also: The Dictionary of English Furniture, revised
jy Ralph Edwards, Vol. Ill, page 11.
English: First quarter of the 1 8 th century: A superb
and most rare Queen Anne period bureau bookcase
of small proportions executed in faded burr walnut,
with herringbone inlay and still retaining the original
makers label. 'WILLIAM OLD ANDJOHN ODY'.
Dimensions :
Maximum Height: 7 ft. 2 in.
Maximum Width: 2 ft. 6 in.
Maximum Depth: 1 ft. 10 in.
tOVAL
ippreciation
We discuss with knowledge for elucidation
One of the most beautifully designed
and detailed flurry secretaries of
the Connecticut school, circa 17H0.
We are proud to offer this supreme example.
SANDOR
INC
LAMBERTVILLE, NEW JERSEY 08530
TEL. (609) 397-0597
II i an almost centrally located betwct n New 1 orh ami Philadelphia,
and across the Delaware River from New I lope, Pennsylvania.
MICHAEL HALL
FINE ARTS Inc.
VENUS AND AMOR
Florentine. Circa 1620
Gilt bronze. Height six inches
6 Hist 79th Street New York, N.Y. I002I
Tel: 249-5053 Cable: Miklull.irt
I In ( onnoisscur, September, 1968
X
ACQUAVEL.L.A
' / / nvers a, a I as
Oil on canvas l-i IH inches
MAURICE DE VLAMINCK
OLD MASTERS • IMPRESSIONIST • 20th CENT! m
PAINTINGS
ACQUAVELLA GALLERY fne.. 18 East 79th Street. IVew York, PL 3-1296
XI
Oil on Canvas 1 8 22 inches
'PASSERELLE DE LA G RAVI ERE'
by
CAMILLE BOMBOIS
1883
UAfTlfTlER GALLERIES Inc.
51 East 57th Street New York, N.Y. 10022
Telephone: Cable address:
Plaza 8-04I0 Hammergall, N.Y.
I he ( onnnivtcur, September, 1968
XII
MflfTimER GALLERIES .
51 East 57th Street New York 10022 M.Y.
Telephone PL8 04I0 Cables HAMMERGALl, N Y.
The American Artist Abroad
Exhibition: September 11 -October 5
Fully Illustrated Catalogue $2.00
Kennedy Galleries
FOUNDED 1874 * BY H. WUNDERLICH
20 EAST 56TH STREET . NEW YORK 10022
GEORGE I SILVER
Cruel
Dublin 1724-5 by Thomas Bolton
18 iv. weighable silver Height 7', in.
from the Collection of
LOUIS WINE Dd
Established 1840
Fine Art Dealers, Jewellers and Silversmiths ?'<' Dublin 77w<>s
31 & 32 GR \FTON STREET, DUBLIN
w
AUTUMN EXHIBITION
2nd - 2Sth September 1968
ARTISTS
BRIAN YATES
Born 1941 Perth, Australia
Exhibited :
FRANCIS TREDINNICK
Born London 1933
SYDNEY McWILLIAM
Born London 1944
PERTH
SYDNEY
MELBOURNE
MOORLAND GALLERY
LYDFORD, TAVISTOCK, DEVON
LYDFORD 249
Licensed Meals available
SELF PORTRAIT
FRANCIS TREDINNICK 1965
B
H
B
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H
E
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B
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B
E
B
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INTERNATIONAL AUCTION RECORDS
Paintings — Engravings — Drawings — Watercolours — Sculpture
I LLUSTRATED
13,000 Prices from all over the World
The LARGEST and CHEAPEST guide to Market Values
The 1968 Edition is now on Sale
£9.9.0. post free
$25 post free (air mail $30)
Sole U.K. and U.S.A. Agent and Distributor
H. BAILE de LAPERRIERE
B.C.M./PUBLISOL C
LONDON W.C.1
B
B
a
B
a
a
a
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a
a
a
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I lie ( nissi nr. Si mbri, \>,(.
XVI
RICHARD GREEN (FINE PAINTINGS)
Member of The British Antique Dealers' Association
Annual Exhibition
of
SPORTING PAINTINGS
including works by:
H. ALKEN Snr. R. ANSDELL J. FERNELEY Snr.
H. HALL J. F. HERRING Snr. A. J. MUNNINGS, P.P.R.A.
G. MORLAND W. J. SHAYER G. STUBBS
C TOWNE J. WARD, R.A. J. N. SARTORIUS
Open from Thursday, October 3rd to October 26th
Daily 10 a.m. to 6 p.m. Saturdays 10 a.m. to 12.30 p.m.
All the paintings in this exhibition are for sale.
Illustrated catalogues available on request.
36 DOVER STREET, LONDON, W. I Telephone: 01-493 7997
Forthcoming
EXHIBITION
OF FINE
OLD MASTER PAINTINGS
early October
LEONARD KOETSER
GALLERY
\] Duke Street, St. James's, London, S.W.i
telephone: 01-930 9 {4N
PRESTONS LIMITED
ESTABLISHED 1 869
Member of the British Antique De.ilcrs' Association
Tankards by
GEORGE I
Silver Tankard, made in London, 1716.
Overall height : 8 1 inches. Weight : 32 oz.
Ambrose Stevenson.
QUEEN ANNE
Silver Lidded Tankard, made in London, 1710.
Overall height: 8.', inches. Weight: 37 oz.
DEANSGATE • BOLTON • LANCASHIRE •
,isoat 91 MOUNT STREET LONDON W.1 tel: 01-499 7644
AND AT 30 AVENUE ROAD • TORONTO 5 • CANADA • Tel: 920-5157
XVII
PRESTONS LIMITED
1 S I A HI ISHED IBM
Member of the British Antique Dealers' Association
Ql KEN ANNE
Pair of Silver Candlesticks, made in London, 1703.
by Pierre Harache.
Height: 6 inches. Weight: 23 oz.
91 MOUNT STREET • LONDON W.l • Tc
also at DEANSGATE BOLTON LANCASHIRE Td: 25476
AND AT 30 AVENUE ROAD • TORONTO 5 • CANADA Tel: 920-5157
Tin Connoisseur, September 1968
\\ 111
PRESTONS LIMITED
ESTABLISHED 1 «69
Member ot the British Antique Dealers* Association
PAUL de LAMERIE
Brandy Saucepan, made in London, 1717, by Paul de Lamerie.
Overall length: N.l inches. Weight: 6 oz. IX dwt.
30 AVENUE ROAD • TORONTO 5 CANADA •
also a. 91 MOUNT STREET LONDON W.1 Tel: 01-499 7644
AND AT DEANSGATE ■ BOLTON LANCASHIRE • Tel: 25476
XIX
LIMITED
Members of The British Antique Dealers Association
Works of Art
Period Furniture
Telephone. BELgravia 1813/14 45 SLOANE STREET LONDON S.W.I Cables: DENYSANT LONDON S.W.I
JULIUS BOHLER
OLD MASTER PAINTINGS
SCULPTURE ANTIQUES
MUNICH
Briennerstr. 25
TELEPHONE: MUNICH 55 15 29
TEL. ADDRESS: PAINTINGS
I Ik* ( Onnojssc i
XX
BY APPOINTMENT ANTIQUARIES OF CHINESE WORKS OF ART
TO H.M. THE KING OF SWEDEN
BLUETT & SONS
Oriental liorfcs of £lrt
An old Chinese huge dish; porcelain decorated with a mountainous
river landscape in enamels »/ the Famille Rose.
Ch'ien Lung period 1736-1795. Diametei 14 indies.
In Chinese eyes the highest form ol art is calligraphy. All the graphic arts stem from this and indeed Chinese
characters in the first place were pictographic. The painter on porcelain considered himself inferior to the painter
on silk or paper but he used all the subjects uln< li Ins more highly considered brother attempted; and indeed to
Western eyes in many cases more successfully because he was able to attain a brilliance of colouring impossible on
silk or paper, for which only delicate waten olours were available. < )n pon elain the enamels could be made more
vibrant bv the application of much more brilliant tunes than are available in watercolours.
The various subjects portrayed l>\ these artists are divided traditionally by the Chinese themselves into four
categories: Figures {Jen Wu), Nature (Him Niao) literally 'flowers and birds'. Miscellaneous (Tsa Hun) and Land-
scape (Shan Shui) literally 'hill and water'. The dish in our illustration is a particularly fine example of Shan Shui,
the skill of the drawing being matc hed by the quality of the enamels.
Members of The British Antique Dealers' Association Ltd.
48 Davies Street, London, W.i
Cables: "Chineceram, London-W.l" Telephone: 01-629 4018 and 3397
Exhibiting at the Grosvenor House Antique Dealers' Fair, Stand 80
□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□
SIMON KAYE LTD
□ □
□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a
BY API'OINTMl NI ANIIQl I I H ALI Its T< I I III LATE QUEEN MANY
MALLETT
MALLETT * S( >N (ANTIQ UES) LTD., 40 NEW BON]) STREET. LONDON W.E TELEPHONE 01-499 741 1 (5 LINES)
( Alii ES: MAI LETTSON LONDON W.l. AND AT BOURDON HOUSE, 2 DAV1ES STREET, LONDON W.l
The Connoisseur, September, i<y>H
XXII
GROWTH ER & SON
(i^OWTHER & SON LTD
E! NORTH END ROAD, FULHAM SW6
: EPHONE: 01-385 1375/7
a LES: ANTIQUITY, LONDON
i e note: We close at 1 p.m. on Saturdays
J
A late 1 8th Century, finely carved Statuary marble chimneypiece with fluted columns.
Lenqth of shelf 5 ft. 10 in.
, d height 4 ft. 1\ in.
Or. ni width 3 ft. 7^'in.
Open:> ^ight 3 ft. 5 in.
M. NEWMAN LTD
Established 1870 Members of The British Antique Dealers' Association Ltd.
43a Duke Street, St. James's and 1/5 Ryder Street, London, S.W.i
Telephone: 01-930 6068 Telegraphic Address : NEWPIC, LONDON, S.W.I
by WILLIAM HENRY KNIGHT (signed and dated)
(1853)
Panel size: 20 2 1 in< hes (51 61 < in.)
Framed size: 25 • 29 inches (64 • 74 cm.)
Exhibited: Royal Academy, 1853 No. 1078
The Connoisseur September, 1968
XXIV
i
0 i, '
: ' The Giudec '. a . Ven ut"
by J". R. UXTKKIir.KGLK 'mhjk-A,
Canvas size: 32 \ / IU\ inches Oil / 67 crn )
Framed size: 3'i£ 331 inches MOO / 80 crn.;
M. NEWMAN LTD
EtUtblktied 1270 Merubm of Thr: British A-r 'ique Dealers' AiMX-iatior, Lt'J
43a Duke Street, St. T nes's and 1/5 Ryder Street, London, S.W.i
Telephone: 01-930 6068 Telegraphic Address: XEWPIC, LONDON, S.W.I
WILLIAM WALTER ANTIQUES
'i.
ANTIQUE
SILVER
OF THE
GEORGE II
PERIOD
Candlesticks date 1 74^/50 made by John Cafe of I .ondon. Two Bottle Cruet with original
glass, uate < 172? made b> Caleb Rotheram of Cork. Pair of Two handled Cups, date c. 1730
made by William Martin of Cork. Tea Pot, date 1 754 made by Thomas Whipham of London.
01-242 3248/9
LONDON SILVLR VAULTS CHANCLRVLANE LONDON • W.C.2 Telegrams Waker S.lvavults London W.C.2
w«W). QUI 1 1 tW+i*Wi
ft %
» v • -Tr v. ♦
y. ■•S3
Ik* . m*r
- ' -•■ i, I
r~ /> * (
Kashan 6 ft. I in. 4 ft. 4 in.
Rcf: 53778
Antique and Old Oriental Carpet*
ami Rugs, Tapestries, etc.
BOUGHT- SOLD - EXCHA NCED
Fitted carpeting in exclusive
plain colours a speciality.
Perez
112 BROMPTON ROAD, S.W.3
TelephoneOI-589 4411 (3lines)
Telegraphic Address 'CARPEREZET'
also PARK STREET, BRISTOL and
AMSTERDAM
I Ik ( oiinoisM iir, September, 1968
XXVI
EXHIBITING AT CHELSEA AUTUMN ANTIQUES FAIR, STAND No. 9
W. R, ti.i . 'EY & Co. (Antiques) Ltd.
4 New Cavendish Street
London W1 01-486 5919
69 Chalk Farm Road
London NW1 01-485 1504
H. S. WELLBY
Antique English and Continental Silver
- v/
A silver jug
AUGSBURG 1769-1771
JOIIANN MAKIIN SATZG1 R
Height 23 cm. Weight 15 oz.
lf>c Grafton Street, London, W.i
Teleph
Hyde Park 1 C97
The Art
of
Furniture
OLE WANSCHER
This book covers in detail almost five thousand
years of the history of furniture and its significance
in daily life in both the noble home and the dwelling
of the average citizen of yesterday and today, as
well as its important role in ecclesiastical ritual.
The essence of every historical period is vividly
described through its characteristic furniture de-
sign and intrinsic ornamentation. The natural
transition of construction and design from one
culture to the next is particularly emphasised. A
section of notes, twelve colour plates and over
three hundred photographs add to the value of this
very informative work.
'Beautifully produced.' House and Harden
Illustrated £6
Victorian
Corners
F. GORDON ROE
Whether for collectors of Victoriana, or for those
who simply enjoy reading about such things, Vic-
torian Corners will be a book with a difference. It is
not just about Victoriana, though the illustrations
and text are pervaded by their enchantment; rather
it aims to set Victoriana in the actual atmosphere
of the Longest Reign, and to bring to life the people
who owned and loved them.
'A fascinating essay on Victorian taste, fully illus-
trated not only with the more familiar excesses and
grotesques, but also with dozens of the more
recherche delights and lunacies that went to make
Victorian style the complete and delicious thing
it was/ Punch
Illustrated 48s.
Aiim & UN WIN
The c onnoisscur, September 19O8
XX V 1 1 1
BY APPOINTMENT
DEALERS IN ANTIQUE FURNITURE AND WORKS OF ART
TO THE LATE QUEEN MARY
M. Harris & Sons
CENTENARY YEAH
A fine pair of carved mahogany Adam elbow chairs. England, circa 1770.
CENTENARY BOOK containing 136 illustrations.
Price 60/- nett, or 64/- including postage and handling charges
(or equivalent in convertible currency).
44/52 New Oxford Street, London W.C.J
Telephone: 01-636 2121
Telegrams: Artisonne London WC1
XXIX
BIGGS
of
MA 11)1: NH KAD
1 SI A H I.I SI Ihl): 1X66
<)\KK 100 YEARS OF FINE l)K M.INfj
painting on panel by Simon |acol>sz do Vligcr, 1600-53. Signed with initials D.V.
Panel l6j 23V in. Frame 23 j 30 1- in.
26, 28, 30, 32 HIGH STREET MAIDENHEAD BERKSHIRE TELEPHONE: 22923
SEBASTIEN JACQUES LECLERC, 1734-1785
W offrande a Diane. On Panel 10"
3?"
Also works by:
Adriaen Van de Velde, Rout and Houdcw \ ns, Nicolaas Herchem. Johann Schotel,
Cornclis Bega, Barent Gael, Sir Laurence Alma-Tadema, Adolphe Monticelli, Charles
Tow nc, James Ward and George Morland. Illustrated Catalogue 5 - Post Free.
xxx
ffiare SrujfuA and Continental o/ifaer. cTHinialw^te.
V
/ J n
< « ' r. b.
A A A A A
■
7 > "
7?y> — »
An important Queen Anne montcith bowl by Samuel Wastell
London 1704. Diameter of bowl 12 inches.
/4n example from our collection of Early English Silver
<~^/^t
/lee/,
/
Valuations for Probate, Insurance and Division
Telephone: 01-629 6261 Telegraphic Address Euclase London W l"
Antique Silver
TV*
Si
O'HANAi
GALLERY
1 5 carl< >s pi ace, London]
01-499 1562
26 SEPTEMBER - 12 OCTOEI
Recent Paintings b\ [
IVOR WEIS
N. BLOOM & SON
40 Albemarle Street Piccadilly London W l
* May fair 5060-
a
■3
GEORGE II SILVER i \ S
A GOOD SET 01 FOUR CAST CANDLESTICKS
made in 1737: maker's mark IS.HC Loudon
hci«hl: 9i inches, weight: 70-5 ounces
["he Connoisseur, September, iy68
XXXII
alio Grttnsboro, North Carolina and 335 Worth Ave., Palm Beach, Florida
Member A.I.D. - I.D.D.A. - Complete Decorating Service
MEYRICK NEILSON of TETBURY
f
<1
( IIAKI I S I OWNDI S. An important
quarter-striking bracket clock in a gilt
metal mounted domed and veneered
ebony case, signed on lite well engraved
hack plate 'C harles Lowndes, Pall Mall'.
With verge escapement, bob pendulum
and pierced and engraved cock. I ft. I \
ins. high. ( 'irca 1 6X5.
(This clock formed part of the S.L.
Prestige Collection, and was sold as Lot
5? at Sotheby's on 2l>th April, 1968, for
£3,400.)
MEYRICK NEILSON
WON 1 1 ( ) I SI . MARKET PLACE,
G I OUCI S I I RSH I R E
Tetbuo 201
Pint docks, ami works uj mi
TETB U R ^
UNIQUE LIFE SIZE COADE STONE LION
Sculpted 1807 at Fulham by
COADE AND DARLEY
Impervious to weather, even bitter frost, Lion outdoors always
remains the same. Rare piece of Garden Sculpture
BOX No. 7433
REG. & MURIEL
ESTABLISHED 1907
ANDRADE
LIMITED
GOTHIC
MADONNA
AND CHILD.
CARVED WAX
2E£
8 BORING DON VILLAS, PLYMPTON
PLYMOUTH, DEVON
Plymouth 37952
I Ik ( DiuiDisM'ur, Scpti'iiilwr, iv<>x
X X X I \
DAVID PEEL
& CO. LTD.
European
Works of Art
Seated Figure
Terracotta
Height 8 J inches
Flemish Circa 1700
:arlos place, mount street, w.i
HYDe Park 3161
ery fine gate table in oak, with turned siren liei *, excellent colom and patinatian.
Lip 4 ft. to in. ^ ft. i in., circa \6jo, also .i pewter tureen.
Porcelain • maps
ealing in antiques since iS^o
LOWE
)f LOUGHBOROUGH
MILES FROM MI
9-40 CHURCH GATE Tel. 0L0-93 2554
pen all week except Saturday
CHARLES WOOLLETT & SON
(Members of The ll. V.D. \. Ltd.)
I 1 in M 1 11 1.1 1 lire 11I Qi
Size 3 inches, nvnl. I
\ similar Miniature
1. 11 Hc\ Collection.
1 en Anne of Denmark l>v I-aae I llivcr ( 1 5nS-ltil7) .01 Curd,
xhihited Edinburgh 1965.
- in 'In- Victoria ami Ulicrt Miis:-um. I''nrmcrly in tin- he
59/61 WIGMORE STREET, LONDON W.IH 9LF
Established I IIH')
flume 01 -935 nt,u\
XXXV
A magnificent sel of eighl silver randiest irk
rrard. Height 12 inches. Weight 220 oz.
L'ahles and Telegrams:
Vivantique, London W.l
Opt-ii liv H|i|ioiiit mriit imlv
Proprietor PETER MANHEIM
D M Lr P
MANHEIM
Memher of The Itrititli Antique Dealers' AsMociation Ltd.
EIGHTEENTH CENTURY AGATE WARE
Telephone: 01-723 6595
LONDON
69 Upper Berkeley Street,
Portman Square, W.l
An extremely rare pair
of Staffordshire cow-
jugs and covers of solid
agate pottery, in strik-
ing chocolate - brown
ami w hite. 5 J in. high.
Circa 1770.
Always a large and
interesting variety oj
cow-jugs in stock.
M. KNOEDLER &CO.,
INC.
1 I East 57th Street, New York, N.Y. 10022
September 16 — October 1
NAY
Last Paintings
October 9 — November 2
THE AMERICAN VISION
Paintings 1825- 1875
lor the benefit ot the Public Education Association
New York Telephone: (212) PLAZA 3-9742
CABLE ADDRESSES "KNOEDLER" NEW YORK, PARIS, LONDON
PARIS. 8.r,tns l-AL KOl'RC; ST. HONORE
LONDON, 34 ST. JAMES'S STREET
\\\\ III
Interior with figures PIETER JACOBS CODDE 1599-1678 Panel 19 25J inches
BERNARD BIVALL
174a KENSINGTON CHURCH STREET, LONDON W.8
Tel: 01-229 29«8
W inter Scene I8tli Century Panel 14 J X 20 inches
THE BRITISH ANTIQUE
DEALERS ASSOCIATION
During the Jubilee Year we shall he illustrating Works of Art purchased
through members of the Association which have enriched Museum
Collections throughout the world.
Chocolate | ii it . heigh I I > \ ins. with enamelled decoration. I In 1 1 ise is
painted in iron red; the othei flowers are in dark purple, pink and
yellow .mil the leaves in bright green. I In Howei knop and double
crossed handle are typical ol the factory, although the handle
terminals in ihc torin ol la< es are unusual.
| ut;. In-igln 7 ins. is .1 Isi i dec c >i .Mrc 1 in enamel colours. The chrysan-
themum is painted in the dark red often used a I the fa< li >i \ . I Ins red
is si 1 1 1 ri ,i i ii I darker than thai usually found on [English creamware.
I'he glaze, like thai "I the chocolate pot, is ol the characteristic
liiiylii lemon-yellow and is ini lined to i raze in long running lines.
Creamware vs .is manufactured .i i Cockpit 1 1 ill between 17 > I and 1 7 7' I. I'he factor) was owned \<\ |i >lm Healh. who also helpe<l to finance the
Derh) Porcelain Works in Nottingham Road. 1 1 is perhaps because « > f 1 1 1 is connei lion thai prod in is ol the two la< lories have been conlused ; for
long i I was thought thai the earliest porcelain was made at the Cockpit Hill factor) but more recent research has tended to discount tins theory.
Although the factor) was in production lot almost thirt) years very few pieces have been identified. This ma) be because the type ol wares being
produced were essenl ially useful pieces, more likel) to I » broken than ornamental pieces. Ni i factor) mark was usn I .it Cockpit 1 1 ill. .i| >a i I from
occasional signed Irausfei printed pieces. As no la< ti >i y rec< »r< Is have sin \ i \ eel 1 1 is impossible ii > estimate the annual | >ri >duction.
In 1 779 John Heath and his brolhei Christopher, who had become a partnei in I he ownership ol the factory, became bankrupt. The ( !i " kpit 1 1 III
works was closed, but the Nottingham Road Porcelain W( irks survived because William Duesbury, w 1 1 ■ > had I mil i up the reputation i >l Ins factory
.mil u ,ts now selling his produces in Loudon, was able to lake lull > nntrol ( >l the fa< lory.
I In i w f * piei es illustrated above .i i < ■ now in the ( lounty li< m nigh ol Derby .\ 1 1 isnu n and At i < ia 1 1 < i \ .
20 RUTLAND GATE, LONDON S.W.y 0,-^,4,2
I Ik < iiiinoisM'tir, Si'pU'inlHT, \</>H XL
JOSEPH & EARLE D. VANDEKAR
Ch'ien Lung period Chinese porcelain in Famille Rose enamels. Superb pair of groups, 81 inches high.
Finest quality Dish, 15 inches diam.
138 BROMPTON ROAD, LONDON SW3 Tel: 01-589 8481
GREGORY & CO.
(BRUTON STREET) LTD. ESTABLISHEI ) 182.1
Telephone: Mayfair 260S/9/0, 2066
27 BRUTON ST., BERKELEY SQUARE
LONDON, W.i
Telegrams: Gregco, Wcsdo London
AN T I Q U E S
FURNITURE
UPHOLSTER V
CURTAINS
CARPETS
CHANDELIERS
DESIGNS & SCHEMES
BOARD ROOMS
DIRECTORS' SUITES
DECORATIONS
ELECTRICAL WORKS
HEATING
VALUATION
A tine Georgian glass 10-light chandelier. C. 1S20
Overall depth 3 ft. 6 in.
Diam iter 2 ft. 8 in.
XLl
Garrard &. Company Limited • P.O. Box 2JJ -112 Regent Street, London \V 1 ■ 01-734 7020
flic i on noiv»cnr, September, 1968
XI II
BY APPOINTMENT TO MrR M A It STY TrU ^I'H-N, UOIPNMITHS AN1* iROWN JtWHURS i. AKK ARP ANP COMPANY 1.1MITKP, I O N PON
eath of King William IV
tarked the beginning of her reign.
Visit the 'Five Centuries of English Silver'
Exhibition in the Garrard Showrooms from
September 10th— 26th. Many fine modern and
antique pieces including the Queen Elizabeth I
Coronation Cup, loaned by the Worshipful
Company of Goldsmiths, will be on display.
Garrard & Company Limited • P Q Bo> 2JJ 112 Regent Street, London \\ .1 • 01-734 7020 V
More information about the Garrard 'Fi< • :urics of English Silver' Exhibition is given on pages 28 and 29.
XI 111
MEXICC
Land of Infinite Varieb s
* * A • , l
Ryan
THERE is so much to see, to discovJ
in Mexico that each day will bril
you something new to marvel at, som
thing more to enjoy. Its splendid see
ery, its diverse climate, the remains i
its pre-Columbian civilisations whic
evoke the mysterious, fascinating pa;
its ancestral customs, its rich baroqi
churches, and its gracious coloni
towns... all this will enchant you.
The architecture of ages past blenc
harmoniously with the bold new built
ings of the present. An example is til
University City (above) a synthesis
themes from ancient cultures and today
modern world. The church of San
Prisca atTaxco (second picture) reprc
sents baroque art with its twin towei
carved into a delicate lacework ofstorl;
Among the ancient customs which su
vive is folk-dancing (near left) in magn
ficent costumes. And then there are th
beaches... miles of fine sands, sparklin
waters and golden sunshine One of th
best-known resorts is Acapulco wher
(far-left) the daring cliff-divers are
thrilling night attraction.
After a holiday you will never forget, yof
will leave Mexico reluctantly, with onl
one wish... to return.
There are daily flights from the capitals d
Europe to Mexico
RENDEZ-VOUS IN
MEXICO CITY
OLYMPIC CAPITAL
MEXICAN TOURIST OFFICE - 60, Jermyn Street, London, S W. 1 - Tel. 01 .499.448
i micuA ncriAnTA UCMTA HC Tl IDIQhAO MP Y IPO f~l I
Wilson & Sharp
Rare silver Chocolate Pot made in the reign of Queen
Artne during 1708 by Robert Bruce of Edinburgh.
hew
Sharp 139 Princes Street, Edinburgh (^|y| A Member 0/ the British Antique Dealers' Association
\i v
The COMPLETE
Encyclopaedia of Antiques
THE COMPLETE ENCYCLOPAEDIA OF
ANTIQUES
960 pages text
512 pages monochrome
plates
Glossaries of terms
at the end of
every section
Compiled by
The Connoisseur
Edited by L. G. G. Ramsey
^4 • I OS. [£4. 16.0 post paid from
The Publishing I )epartment,
The National Magazine Co., Ltd.,
22 Armoury Way, London, SWiS]
I
'the most comprehensive &
authoritative single-volume
work of reference in its field'
I lie 1 (Hiiunssfur, September, i</>8
XI VI
CARL YEAKEL
1 099 Coast Boulevard South, Laguana Beach, California
Phone Hyatt 4-5526
One of the finest and most comprehensive stocks
in the country
FURNITURE ■ MARINE ITEMS ■ SILVER
PORCELAIN ■ OBJETS DART ■ ETC.
XI All
I
ARPAI) ANTIQUES, INC.
Chinese I vport porcelain bowl
made for the American market
depi< ting .1 hunting sc ene.
I lianictcr : 1 ?! inches
FINE ANTIQUES APPRAISALS
j 125 M Stri.pt, N.W.
Washington, D.C. 20007 (202) FE 7-3424
Ml R I/',"/.' \IS1 RSASSOt IATIOS Ol AMI MCA
HENRY SPENCER
& SONS
I s I Alii isl III) 1S4.
RETFORD SALEROOMS
Sept. II, 12, 13 XVIII and XIX
Century FURNITURE
PAINTINGS, PORCELAIN
COUNTRY HOUSE SALES
Sept. 17 The Contents of Lyn Garth,
Bramcote, Notts.
Sept. 20 The Contents of Rose
Cottage, Snelston,
Ashbourne. Derbyshire.
Oct. 2 The Contents of Sedgebrook
Manor, Grantham.
Valuations of the Contents of Town and Country Houses
for Probate and Insurance.
Catalogues 3/6d. each (By Post 4/-) from
HENRY SPENCER & SONS
FINE ART AUCTIONEERS
15 Exchange Street, Retford
Telephone 2404 and 2205
HALPH COX
Member of the BAD. A.
5 ST. MARY'S HILL
STAMFORD
Plaster. Second LINCOLNSHIRE
hall XVIII Cen-
tury, in original Stamford 41 59
carved and gilt frame.
Antique Silver
HARRY
Sheffield Plate
CHERNACK
Antique Jewellery
of Edinburgh
85 ROSE STREET •
PHONE 031-225 3038
MEISSEN — a very limited amount of this exquisite porcelain tableware
is now available in this country. Supreme of their kind, each piece is
painted freehand by Meissen master craftsmen, in the tradition which has
for over two centuries produced tableware for the palaces of Europe.
Their beauty and rarity makes these magnificent services an excellent
investment.
A list ot stockists may be obtained from the sole importers:-
Holborn Tableware Co. Ltd., 36 Hatton Garden, London, E.C.1.
Restoration
and conservation of the antique
Bron?es Ceramics Enamels Ivories
Jades Marbles Tortoiseshell
Snuff? Mother-of-Pearl Buhl
Ormolu Objets d'Art Furniture etc. '
G. Garbe
restorers to the leading museums
23 Charlotte Street W.1
Founded 17/0 Tel : MUSeum 1 268
Mi. ( ( .inn lissi in . Si ptcniln ! i<j6X
\ I VIM
I
EXHIBITION
THE INFLUENCE OF CROME
>SCAR AND PETER JOHNSON LIMITED
LOWNDES LODGE GALLERY, 27 LOWNDES STREET, LONDON, S.W.t
Ijphone: 01-235 6464/5 (opposite Carlton Tower Hotel) Cables: ARTCOS, LONDON, S.W.I
A small and very line Louis X V Settee, i lie serpentine frame beautifully carved with flowers and leaves
'• ,'. . in. long. c. 1 760.
XI IX
Book,
Chippendale
Furniture
ANTHONY COLERIDGE
lite Work of Thomas Chippendale and his Contemporaries in the Rococo Style
i a,, i 1-4^-1 765.
A new Liber Monograph covering the development and period ol
predominance ol the English Uococo style in furniture, exemplified by
the first and longest part of Thomas Chippendale's career.
With i coloui plates ,iii,l 192 pages ol half-tone illustrations.
Faber Monographs on Furniture. 10 gns
The Cleaning of Paintings
HELMUT RUHEMANN
Problems ,111, 1 Potentialities.
Mr. Uuhemann, Consultant Restorer to the National Gallery, show s th.it
the cleaning of paintings is now .1 thoroughly scientific procedure, and
demonstrates convincingly th.it clean paintings are aesthetically desirable.
II;;// 0 colotn plates, 04 i<,ioe< ,<l half-tone illustrations ,111, 1 severdl line
drawings. 6 gns
John Crome
DEREK CLIFFORDS TIMOTHY CLIFFORD
A comprehensive survey, the first to appear lor over torts ve.irs. ol the life
and work ol |ohn t'roinc, the great Norwich landscapist.
II iih ,s' colotn plates and 128 pages ol hall-tone illustrations. 8 gns
Korean Pottery and
Porcelain of the Yi Period
(i. Sr.G. M. GOMPERTZ
The authoi h.is made use of the gre.it reservoir ol studies, research and
connoisseurship available 111 |apan to produce the only detailed account ol
the Yi period wares in any Western language.
With K colotn plates ,nnl uo pages of half-tone illustrations.
Faber Monographs on Pottery and Porcelain. s gns
Chinese Carved Jades
S. HOWARD HANSFORD
oriels ne w insights into the changing techniques and styles ol this
remarkable art and embodies the latest rosea n h. . . for collec tors am)
students ol jade alike It will be quite indispensable.' Country Life
With S colour pinto, cjO pages ol half-tone illustrations and 6 drawings.
Arts of the Fast series. s gns
Faber & Faber 24 Russell Square London WCI
>j Melbourne Ham
Arthur Goddard isn't 'family!
But he won't use
anything but Goddard's
Cabinet Makers Wax
" This is a really magnificent
piece. It's a W illiam and Mary
c lu st cm stand absolutely typi-
cal ol its period burr walnut
with beautiful cross-banding
around the doors and drawers.
And just look at those- marvel-
lous spiral legs and the generous
curves at the base ol the stand.
It's worth about /,'-'.<>< ioand,con-
sidcringitwasmade around 1690,
it's in almost mint condition.
\1\ job is to keep ii that way.
That's where Goddard's Cabi-
net Makers Wax comes in. It's
made from a traditional form-
ula, with beeswax and m.m\
other 1 a rc waxes, discovered
long ago l>y the great English
- &o
'ivi' |. <:ol>l>ARI> X SONS LTD.,
*hl.soN SI .. LEICESTER,
WEI '
cabinet makers. I'vetried all tl
polishes around I've even trie
making my own but there
nothing like Goddard's Cabin
Makers Wax. I have two thini
in common w ith this wonder
polish the name'; and the abifl
to bring out the beauty of fn4
furniture. At least, that's wh
my e licnls te ll me!"
1
Melbourne Hall, MelbounM
nr. 1 )erby; home- ol the Marque,
of Lothian, birthplace * > 1 l'i irr
Ministe r Lord Me lbourne; opH
to the publii .
■Til AVKNI I
NEW VORK. N.Y. loo
Cabinet Makers Wax
is also available in cream firm -
Goddard's Cabinet Muiei\ Cream
The Connoisseur, September, T968
p r^y
A most important Chippendale giltwood side table,
circa 1 765. The table top is veneered in Verde Antico
marble and has a Siena marble border.
Inset shows detail of the superb carving. Length: 72"
Width: 35" Height: 36/
Bv Appointment
lo H M The Queen
Asprey not only offer a fine selection of rare
antique furniture: in addition, their Interior Design
Service ensures that fine furniture is seen at
Jewellers itS DeSt.
ASPREY it COMPANY LTD.. 165-169 NEW BOND ST., LONDON WIY OAR TEL: 01 -493 6767
a r* r> c* n> r> n n n <s n a n n c, r, r> n n n r, r> o n n n n r. r* n o O n n f> n <# n c* r*
c»
<£
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©
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s
COINS
AND
COLLECTIONS PURCHASED
write giving details to
R. A. FARRINGTON
Silvcrdale
Hoylcs Lane
Lea
PRESTON, PR4 OLD
JULIAN
XVI-XX Century Works of Art in bronze and other media
si u i'i mun m >~>
II \l ' I IS I
I reiuli Si liool i)l ill.
per i< hI 1. 1 I .mis XIV.
I tl.u k l.u quel ril hi i inze
over rcd-Kokl patination
w nil finely i liiselled after-
i .isllilK.
I leighi : K.J iih lies.
406 KINCS ROAD LONDON S.W.10
FLA 4400 and 3243
drian galleries
August 27 - September 13
Suzanne LEVY
p.imtinys
Permanently
BOHUSZ. BURT, CROZIER, FRERE-SMITH, HANSEL,
LACASSE. ILNICKI, PORTWAY, STEPHENSON,
RABA, etc.
5-7 porchester place marble arch london W2
pad 9473
GRABOWSKI GALLERY
84 Sloane Avenue London SW3 589 1868
THE 100th EXHIBITION of the gallery
Open Monday - Saturday 10-6
English 18th and 19th Century
Watercolours and Drawings
Restoration Valuation
58 Jermyn Street, St. James's
London, SW1 01-493 4496
OMELL GALLERIES
FINE 19th and 20th CENTURY PAINTINGS
AT REASONABLE PRICES
II
22 BURY STREET, ST. JAMES'S, S.W.
839 4274
CRANE ARTS LTD.
321 Kings Road, London, S.W.3 FLA 5857
Tues. -Sat. 10-6
Early English and American Primitive Paintings
Modern Naives* Bizarre Antiques
EDWARD SPEELMAN LTD
Old Masters
EMPIRE HOUSE, 175 PICCADILLY
LONDON Wl V ONP
01-493 0657
THE TRYON GALLERY LTD
41-2 DOVER STREET, LONDON, W.i HYDE PARK 5161
Sporting and Natural History pictures
SARIN
GALLERIES
V Cork St..
It E Gent
Bond Si.
6 I D (>
specialists in
paintings and drawings
of the Georgian era
1 n
AN ENGLISH COMMODE
IN
THE FRENCH MANNER
Ca. 1775
Ex Coll. THE EARL OF ILCHESTER
MELBURY HOUSE
DORCHESTER
DORSET
II. 33 in.
VV. 43 in.
D. 23 in.
GLAISHER & NASH LTD
-OWNDKS LODGE CADOGAN PLAGE
LONDON SW1
01-235 2285
FRENCH, late i6th century Needlework panel, c. 15S0, shewing Henri IV of
France presiding at a banquet with courtiers in attendance.
Worked in polychrome cross-stitch in silks and wools in blues, greens, russet
and saffron. Mounted on a stretcher and edged with antique green velvet and
silver galon.
In excellent condition measuring 6 ft. 3 in. 2 ft. 3 in. (i,HK m. 67 cm.)
Mayor cas Ltd
+f Member of the BADA Ltd
38 Jermyn Street St. James's London S.W.I Telephone: 01-629 4195
1 in
HOW
London 171s
Uy A. NcIiih-
Kettle, stand and Lamp
Arms of Payler
Wiitdit : iy4 oz. (t;ross)
(HOW OF EDINBURGH)
ONLY ADDRESS
2-3 PICKERING PLACE, ST. JAMES'S STREET
LONDON S.W.i
Telephone & Telegrams: o;-g ?<> 7140
ANTIQUES
FAIR
m
Oj/uial Opening 12 mum. Tuesday, September 24th.
By Mr. John Flower.
Furniture pre-1830. Jewellery pre-1880.
Paintings and all other pieces pre-1860.
Every exhibit for sale. Stands restocked daily.
Free Car Park. Bars, Buffet, Restaurant.
Admission 5/-.
September
24th to 28 th
11 a.m. to 9 p.m. Tuesday to Saturday.
CHESFORD GRANGE
mildred friedman's
331 1 West McNichols Road.
Detroit, Michigan 48221
tel: (31 3) 341 -1 323
Irish Chippendale Mahogany Games Ta bit
c. 1810. 32 in. 3.' in., 27 in. high
$67. V 111
W. BARRETT & SON LTD.
Established 1840
SPECIALISTS IN
ORIENTAL CARVINGS
IVORY
JADE
HARDSTONE
We undertake
restorations and repairs
9 OLD BOND ST., LONDON, W.l
Tel: 01-493 1996
Rupert Preston Ltd.
17 KING STREET. St. James's. London S.W.1. 01 -930 1794
Specialists in 17th and 18th century
Seascape Paintings
4* GARRARD The Crown Jewellers
will purchase at highest prices antique and modern
jewellery, silver and period clocks. A valuer will call
to view larger pieces or collections.
GARRARD The Crown Jewellers
112 REGENT STREET, LONDON. \X .i. TELEPHONE : REGENT 7020
KENILWORTH
The Connoisseur, September, 1968
Visit Kentucky
■■•■■»'»' — - —
merican and
English (i/Lntiques
Ginsbur;
Levy
A
MERICAN FURNITURE
- Bureau with Dressing Glass -
similar to, but finer than Num-
ber 74 in the Supplement to
Stoneman's J. & T. Seymour,
Cabinetmakers of Boston
1794-1816. Original lion mask
brasses, maple veneer on ma-
hogany, white pine secondary.
From our textiles, a Patriotie
Memorial to George Washing-
ton embroidered in brilliant
eolors, about 1809 (dated on the
satin) from the design of an
English aquatint of 1800.
Frame 20 < 22", blaek glass
mat.
A N T I QUA R 1 A \ N N / .V C /:' / o ,> ;
i$ Madison Avenue, New York, N.Y. 10021, (212) RH 4-1352
1 \
The Connoisseur Register Advertisemeij
WANTED
Information regarding location of portraits (painted 1804-11 ji
John Norton (Teyoninkokarawen) a MOHAWK Chief, and/ohi
wife Catherine by artists known as Williams, Mr. Watson of mi
burgh, and Mary Anne Knight. (Philips' picture at Syon has g
identified.) Please write to Professor C. F. Klinck, 8 Grosvenor S en
London, Ontario, Canada, Reward.
Wanted, by energetic, knowledgeable, young retiring Officer a j io i
partnership in general Antique Business within or around triangulai •« i
Bristol, Oxford, Reading. Box No: 7429.
David Wynne. Bronze Study for Yehudi Menuhin, 1963, 6 in. Bo; lo
7430.
Diamonds, R-ubies, Emeralds - Cartier offer top prices for the fl
jewellery. Ex"pert advice without obligation and in strict confides
Cartier Ltd., 1 75 New Bond Street, London, W.1 . 01 -493 6962.
Wanted. A pair of matching Stuart Elbow Chairs in oak or walnut cs
1660-1690. State where can be inspected and price. Box No: 743 1
FOR SALE
Old Prints. Unrivalled selection on all subjects, also ORIGI J
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRI 3
Callers by appointment only, telephone Ambassador 5439 Walt( H
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London 1[i
Ship Models. Three miniature in seaways under full and storm it
Three sailor-made. Circa 1870. One steamer 1897. Box No: 7431. 1
MISCELLANEOUS
Cameo Corner famous for 60 years for fine craftsmanship in ant ill
jewellery from ancient to Victorian. Also the best in contemporary de: n|i
Enquiries welcome. 26 Museum Street, W.C.1 . Tel: 01 -636 0401 . C i
9-5. Thu. 6.30.
Inchbald School of Design. One Year Diploma Course in Int n
Design and Decoration begins October 1968. Ten week Concentr ■
Lecture Course including Practical Designing, History of Architec 31
Art and Antiques begins 30th September 1 968. Also Part-time Cou si
Apply: The Principal, 7 Eaton Gate, London S.W.1.
Antiques - We are in a position to undertake the repairing of a
furniture. KEEBLE, LTD., 20 Welbeck Street, W.1. Tel: Welbeck 016 I
Register advertisements are 21 - per word, minimum £1 .6 Of or 15 wc si
which must be prepaid and sent to the Advertisement Manager, A
CONNOISSEUR. CHESTERGATE HOUSE. VAUXHALL BRllA
ROAD. LONDON S.W.1 (Victoria 2331). Addresses or Box Numy\
must be inserted and replies to the latter should be clearly marked \ %
the Box Number The Proprietors of The Connoisseur accept oj
responsibility for any sales effected.
CHINESE
GALLERY
SMALL ANTIQUE CHINESE CARVINGS
IN ALL SEMI-PRECIOUS STONES
40 Great Russell Street, London, W.C.I.
(LANGHAM 7538)
I, VI
Visit Kentucky
We welcome you to
WAKEFIELD -SCEARCE GALLERIES
In our extensive showrooms in central
Kentucky, you will find hundreds of rare
and interesting items of English furniture,
silver, china, glass, old Sheffield, paintings,
maps, prints, fireplace equipment, mirrors
and decorative accessories.
We are franchised dealers for the famous
Dorothy Doughty and Boehm birds, and
Cybis porcelains. (We welcome your re-
quests for specific models.)
Visit our subterranean silver vault.
When passing this way, why not pay us a
leisurely visit? You may enjoy good regional
food in historic Science Hill Inn — all in the
same building.
One of a rare pair of old Sheffield
candlesticks by Boulton ami Fothergill,
England, circa 17d4. Height 121 ins.,
base 4J ins. square.
WAKEFIELD -SCEARCE
GALLERIES
DIRECT IMPORTERS
Historic Science Hill, Washington Street
SHELBYVILLE, KENTUCKY 40065
•
on BOTH nidi ii roads (U.S. tin mid l-Gh )
between Louisville and Lexington
•
Open every day 9 a. in. — :> p.m.
Closed Sundays.
Telephone: ('■<>;) ME 3-1,382
An unusual Georgian mahogany serpentine sideboard of fine quality.
Rich brown color. Circa 1790. Height 37 ins., width 60 ins., depth 29 ins.
I VII
Visit Kentucky
u mil urc and \vc\ 'ssoiies < >l Lhc
I 7 1 1 1 . 1 <S 1 1 1 . I ! * 1 1 1 Cen t u r i
NED
ANTIQUES
English Georgian library steps
in solid mahogany. Folds i<> form table.
New leather in gold on stairs and
second finish. Circa I 790-1800
Price $950.00
') .i in in ") id p.m. daily- Closed Sundays
51 I Khn Si red ( I .S. Route MA)
Shelbv \ i lie Tennessee
Phone (()15) 68 I - MiOO
I 7th Century
CHINESE CLOISONNE
Three-piece enamel set
of a deep turquoise colour
with decoration in colours
tylUUl Inc.
Qricniol UrtSincclSlt
835 Madison Avenue, New York, 10021, N.Y.
Telephone: Kl gent 4-2200
T in ( onnoisscur, September, [QrtN
I VIII
BARYE
Three superb examples of rare models
by Antoine-Louis Barye in our
collection of selected bronzes by this
Master, and certain other animaliers.
A list of these is available on request.
AigU sur tin rochet , circa 1836
( >ne of several preliminary studios fur an enormous eagle to surmount
the planned Arc-de-Triomphe. (The project was abandoned.)
Bronze, rich brown patination.
Height, including marble base, 13$ in. (33,5 cm.).
Tigre surprenant un taureau cabri, circa 1840
. . here the base has shrivelled and tin* sculpture juts out beyond its
1 in it ts, thus piercing the ambiance of the animal and impinging on our
own world/ Sculpture 1 9th & 20th Centuries, Fred Licht, London 1%7
Bronze, reddish- brown patination.
Height, withoul base, 74l in (20 cm.).
Dromadaire harnache, circa I860
Bronze, rich reddish-bi own patination, green highlights.
Height: 10 in. ('25,5 cm.).
1062 MADISON AVENUE, Mill' YORK, N.Y. 10026
TR g-2171
LIX
Bords de L'Oise
Sous La Ncige, ca. 1910
Canvas 19 24 GUSTAVE
LOISEAU
"QUEBEC FARM. 1856"
Canvas 22^ 32
CO R N ELI US
KRIEGHOFF
Recorded Barbeau Page 105
Reproduced on Page 6
IMPORTANT CANADIAN AND
FRENCH PAINTINGS
WALTER KLINKHOFF GALLERY
1200 SHERBROOKE ST. WEST
MONTREAL, P.Q.
I8th-Century French Antiques
XVI mahogany ralraichissoir, French Circa 1790.
Top: 17 in. 17 m. 30 & in. high.
746 Madison \ve., Wu York, N.Y. 101(21 • UN 1-1666
Member Art ami Antique Dealers League of America
National tntique and Iri Dealers tssocialion of America, Inc.
II '. /. Bleati ca. 16 ;d / 6 22 in.
17th and 1 Stli Century Maps of the U.S.
LIROS GALLERY
630 N. WASHINGTON ST.
ALEXANDRIA, Va. 22314
(703) 549-0059
KAPLAN GALLERY
G. LOISEAU, 1863-1935 LE PONT MARIE, PARIS 21
6 DUKE STREET ST. JAMES'S LONDON S.W.I
TEI . 01 - 930 866j
j
Photographed in the 18th Century English pine-panelled
"LATHBURY PARK"-Ti|,
traditional designs in this distinguished e n
of screen printed fabrics were adapt* ■
treasury of venerable English hand-blocked iu
Some are executed on 50" glazed chin \
on 56" linen and cotton. In mellow colore suitable I t
traditional and more contempora H
►turn is available in the United States
la from GREEFF FABRICS, INC.,
nd Ave., Port Chester, N.Y. 10573
?nge St., Toronto 1 , Ontario, 4 Mp
iterior designers and the decorating
its of fine stores. It is available throughout
the world from WARNER & SONS, LTD.,
buse, Winsley St., Oxford St.,
■I 4, r,.
Illustrated (left to right); "Hatfield", "Compton", "Haddon",
Childe Hassam - 'Lc four Dc Grand I'
HERNAKD DANENIiERG GALLERIES, INl
PRESENTS
A LOAN EXHIBITION
OF IMPORTANT
AMERICAN PAINTINGS
FROM THE
NEW BRITAIN MUSEUM
OF AMERICAN ART
Sept 18 thru Oct 12, 19(1$- 10 a.m. 1 I
to 6 p.m.
Benefit Building I:wid, The New
Britain Museum of American Art
Bernard Danenberg Galleries im
1000 Madison Avenue, New York, N.Y. 1002
(212) 249-7050
PUBLIC AUCTION
SALE, SATURDAY, SEPTEMBER 14th, 10 a.m.
For the benefit of 'Lyndhurst'
Works ot Art and Furnishings
Many donated especially for tins Sale
Auction to be held at Lyndhurst.
A property ol the National Trust tor Historic Preservation,
Ms South liroadway, Tarrytown,
New York 10591. Telephone 9 14-ME- 1-0046
I xhibit, Friday, September 1 jth, io a.m. - s p.m.
(Admission $1.50, includes tour of museum)
0. RUNDLE GILBERT
Auctioneer-Appraiser
Garrison-on-Hudson, N.Y.
Telephone 914-424-3657
THE NEW SONG
Oil. Canvas size 58 x 87 in.
By LOUISE OBBEN. signed upper right
Dated 1885
EUGENE SUSSKL
ANTIQUES AND FINE ART
1929 CHESTNUT STREET, PHILADELPHIA, PA. 19103
Members of the Art and Antique Dealers League of America
and The Appraisers Association of America
The Connoisseur. September, 19'iH
I XIV
Important American Paintings
. intimities
Renaissance
Bernard Danenberg Galleries inc.
1000 Madison Avenue,NewYork,N.Y.10021
(212) 249-7050
A Marble Herm Bust,
one oj the famous Hellenistic
Portraits of Menander —
Augustan Period circa 10-20 A.D.
Height 20] in. (0 -5 / 5 ///.)
A portrait of a lady signed G. Kneller
and dated 1 720 (original frame)
Unique pair of commodes 1 8th century
Specialist in Antiques. Mirrors and Frames
APPRAISALS AUCTIONEER
ROBERT D. BUNN
ANTIQUES AND INTERIORS
11-13 BILTMORE AVENUE
PHONE 254-39I I
ASHEVILLE, NORTH CAROLINA
28801
I XV
From the latest
shipment <>/ ver)
interesting and unusual
II edgwood pieces
Bcaul ilnl special order
blue and v> hite jasper,
20 in. urn, circa IM20
Also, many Wedgwood A
Bentle> items, black basalt
urns ami busl s.
marbleized urn with lid. rare;
medallions, basalt ami jasper
Your requests
promptl) Idled
\\ c shi|i all over
W EDGWOOD
t~3 II est Ellet Street
Philadelphia, Pennsylvania 19119
(215) CH 7-2062
Antiques, Furniture
and Works of Art
PACKED &
SHIPPED
to all parts of the World
OVERSFAS HOUSEHOLD REMOVALS
GANDER & WHITE LTD
Head Office:
25 CHEVAL PLACE, BR0MPT0N ROAD, LONDON S.W.7
Telephone: KNIghtsbridge 0646-8
' Happy and kumfi
I shall be
Gander and White
him packee me '
Packing
Warehouse:
Empress Place, Lillie Road, S.W.6. Telephone: FULham 0309
Announcing
Volume X of the
Journal of Glass Studies
rii.
.IS|)(
I Ik
.nl
pub
Vol
Sul
leading international publication containing articles on ev<
l of the history < >l glass.
■ Journal in< hides a ( he< k list of the must recent publications on t
ami history of glass and lisis of important acquisitions made
Ik and pri\ ate i ollections in the United States and abroad.
nine X contains 2'M) pages and 3(12 illustrations. Its 1(> artic
I with :
An Unreported Use for Some Mycenaean Glass Paste He. ids
An Unpublished A< hemenid ( a ii Glass Bowl In im Nippur.
The Canosa Group of Hellenistic Glasses in the Brit
Museum.
Millefiori ( J lass in ( .lassie.il Antiquity.
I in i oupe a fond d'or dei ouvcrte a Farrobo, Portugal.
A Roman Figure-( 'ut Vessel from Gaerleon.
Eine romische < dassi bale aus Krcfeld-Gellep.
Mure ( Hit and Enamelled < Uass from ( lyprus.
Maria Baroviei e le 'rosette'.
I'm inn. i d'una parola sbagliata.
1 )er Romer. Studien zu einer ( llasform.
( leorgc Ravensi rofl : New I .ighi on the I >evelopment of I lis
'( In istallinc < Masses'.
Dominik Biemann's Dealings with the Dealci Steigerwald
Frankfurt am Mam.
A Group ol Pseudo- Ancient Glass Vessels from Italy.
Two Pragmatii Viewson 'Vasa Diatreta'.
im 1 1 1 >i ion .ii S i. tin per year, plus "i()< for foreign postage, can
cred i In i nigh youi local bookdealcr or from :
THE CORNING MUSEUM OF GLASS
( !i li ning Glass ( lentcr
( lorning, New Vml I 1830
I XVI
Outstanding selection of rare pieces in room
size, small size or runners. Collector's pieces.
UJCASIAN
^ZAK
kBISTAN
JBA
^GHESTAN
1ICHI
VRABAGH
TURKISH
GHIORDES
KULA
OUSHAK
HEREKE
BERGAMO
LADIK
PERSIAN
KERMAN
SEHNA
KASHAN
TABRIZ
EERAGHAN
SHIRAZ
TURKOMEN
TEKKE
AEGHAN
SAMARKAND
KHIVA
KHACHLI
46 years of dealing in Antique Oriental Rugs
R. R. Markarian
c/o A. B. Closson Jr. Co.
4th & Race Streets
Cincinnati, Ohio 45202
513-621-1536
VENARD EPKO
TAURELLE SINICKI
BOUYSSOU MOTTET
YANKEL
clusively with
GALERIE
mCFL
710 MADISON AVENUE at 63rd • TE 2-9590
PARIS NEW YORK
Permanent exhibition of works by
, CHAGALL • BRAQUE • PICASSO • RENOIR • UTRILLO
VLAMINCK • VALTAT ■ VAN DONGEN • CAMOIN
| R. DUFY • J. DUFY • VUILLARD • SEGONZAC • GROMAIRE
GUILLAUMIN • LAURENCIN • LEBASQUE • LEBOURG
LHOTE • LOISEATJ • LUCE • MARQUET • MARTIN
MAUFRA- MONTEZIN • ST. DELIS- SIGN AC ■ D'ESPAGNAT
Largest Selection of Signed Lithographs by
All the Masters and our Own Exclusive Artists
Queen Anne walnut set retai r
England urea 1730
Height 7 ft. 3 in. width 39 in. depth 22 i
Antique Furniture. Porcelain,
Silver, . I< < essories
Unlimited
inc.
Member ol the Ar( & Antique Dealers League of America, Inc.
Show mt; at the Mini Museum Antiques Show. Bnoili 14
Oct. 5th - 7th, 1968
120 Greenwich Road, Charlotte, North Carolina
Telephone (70-1) 366-7272
I XVII
\ )ighlingdule pui tiling oj Haiti a ns.
circa HIT-!.
I i i \ choice eighteenth-century
siijn uible oj sutinwood
ami mahogan \ .
Mountains Bluebirds, h\ Boehm.
lS.
j '
i.
ANTIQUES INT E R IOH H E SIGN
VI I DDL EBU KG, V 1 KG I N I A
Tel. : (70")) 687 6r)(v>
Member of I'he trt and tntique Dealers League oj America, In,.
Member qj I'he Inn/nan Institute of Interim Designers.
JOHN C. R. TOMPKINS
Antiques
VERY mil ill C !onnecticut chcrrywood
highboy, only s It. i i in. high, j(i in. wide.
Completely .ill original except brasses.
SHUNPIKE ROAD, MILLBROOK,
N.Y. 12545
Telephone 914-677-3026
App<
Advisable
11 . Sipli nil" r, \<><i*
I Will
or lovers of fine
American fun u'ti ire , we
offer a fruitwood chest
by Eliphalet Chapin,
of Hartford {or East Windsor),
Connecticut . Circa 1775.
The chest has the original finish and
all of the original
handles, no restoration.
FLORENE MAINE
U.S. Route ±;7, P.O. Ridgefield, Connecticut • (203) 438 2386
Open daily fron; 8 a.m. until fi p m. Sundays by appointment.
If you are coming from a distance, a phone call in advance is advisable.
Furniture and tceessories of the
I 7lh. 18th and Centuries
LXIX
3 ft. 3 in. 1 3 ft.
Caucasian Ruo - Antique Zcnhor
I his outstanding piece "I peasant Caucasian workman-
ship is a brilliant example of the type of rug that will
soon completely disappear from the hands of the con-
noisseur. I Ins Kube-Zeichor enjoys a field of Georgian
crosses on ,i midnight blue field. 1 he border is a classic
'running dog' design. Zeichors ot tins size and type
are .ilnn>st non-existent.
Mark Keshishian & Sons, Inc.
— ORIENTAL RUGS —
421 5 CONNECTICUT AVE., N.W.
WASHINGTON, DC. 20008
Tel. (202) EMerson 2-1600 ■ (202) Lincoln 7-2000
Kenneth E. Snow & Sons
•
NEW ENGLAND PRIMITIVE PAINTING
OF PRIOR SCHOOL (43 29 in.)
M r have •> comprehensive collection of 1 >oo English theatrical broadside
from 180$ r<> iSjs. Average size 12 < j.s in.
\z AUBURN ST., NLWBURYPORT, MASS. 01950
I LL. (617) 462-2882
Specialising in
MARINE AND EARLY MILITARY
Prior to 1800) ITEMS
We currently have on hand a very fine and
comprehensive collection of
•REVOLUTIONARY WAR CANNONS
•NAVAL CANNONS
• MUSKETS
•ENGRAVED POWDERHORNS
• EARLY SWORDS AND EQUIPMENT
•KENTUCKY RIFLES
• PISTOLS
Exhibiting
Montclair Antiques Fair, Sept. 16-20
New York Antiques Lair. Oct. 1 1-19
Eastern States Antiques Fair, Nov. 18-23
\.Y. Coliseum Antiques Fair, Dec. 7-15
CAPTAIN
MOSES BROWN
HOUSE
Sally and Allen Aylward
350 High St., Newburyport, Mass. 01950
1
Public and trade welcome
'612) 465-8856
The ( onnoivA'iir, September, lyON
I XX
Gordon Cayce Lie
I Main at Fourteenth
HOPKINSVILLE, KENTUCKY 42240
TELEPHONE - 502 886-391 1
FINE
18th CENTURY FURNITURE
Hepplewhite Chair
^43 inches high1
Beautifully Proportioned
Lovely Colour Mahogany
Unusually small
Drum Table
v23 inches diameter)
Mahogany, with cross banding
Satinwood stringing
7
Established iSjt
OSR
Lra//enes
of Boston inc
l Newbury Street, Boston, Mass.
( 617) 536-6176
'Throe Maidens'
by
N. V. DIAZ
Cradled Panel i o 13
mi Estate of R.uhbun Fuller
Robert C. Vose
Elbridge Gerry Sale. AAA. Feb.6,
[928, number 4 s
Mrs. Jos. B. Bloomingdalc
S. D. Warren Sale. \AA, Jan. 8,
1903, number 67
Edouard Andre, Paris
Agents for the estates of
WILLIAM HORTON
and MAXFIELD PARRISH
1 XXI
1 fine iili I iihi 1 1 with
i ruby ground, size 5-2
I ■ I . mini i miilil urn
A large selection ol antique Oriental and European
rugs, including many silks, in stock at all times, in a var-
iety ol sizes. All arc photographed in color. Write us with
your requirements, as rti»s are shipped on approval.
APPRAISALS
M- MICHAEL BARD, INC.
ORIENTAL AND El ROPEAN RUGS
\\ I MM E \\l> \]<)l)i:i{\
306 LAST GIST STREKT
*" * NKW YORK, N. Y. 10021
/// s,/d / r<mcisr<>,
KOBKHT HRON SI I |)I()S
00 IIOTALLNG PLACE
Tel: 832-8122
\r<-;i C.xl.- 212
T.I: (I!".)
7NI-<i!>2l
EDMUND PEEL
Spanish painting
SOROLLA
NONELL
REGOYOS
DALI
VAZQUEZ DIAZ
MIR
SOLANA
PALENCIA
COSSIO
MACARRON
COLMEIRO
ABELLO
GOYA 63, MADRID-1. (tel: 2758195)
• 1 (
in n in v ou H
100 West Main Street
Richmond, Virginia
703-643-8839
French provincial satinwood Louis XV
puudrc with simple brass mounting and
exquisite diamond block marquetry.
Circa 1760
Also exhibiting
MINT MUSEUM SHOW
CHARLOTTE, CINCINNATI ANTIQUE SHOW
Greek Italiote Apulian Pelice
Late 4th Century B.C. Ht. 25 in.
ORIENTAL
WORKS OF AR
ANTIQUITIES
EUROPEAN
ANTIQUES
FINE ART
PRINTS & MAPS
THE
HUNDREC
ANTIQUE
640-642 CHURCH ST. / TORON1
TEL : (416) 924-3627
I AM I S I ■ ■ IKU li IN
u
I hi. ( innnijsM.ni , September, iy0«s
I WW
DAPHXE lo 20 in. by RAYMOND A. WHYTE
Catalogue and information
available upon request
GMEME
HE TOUKS
559 SUTTER STREET
SAN FRANCISCO • California 94102
(415) 362-0504 (415) 362-4013
Also in Carmel - Ocean & Lincoln and Dolores & Sixth
1 win
EDWARD GARRATT
INCORPORATED
145 EAST 57th STREET
Twelfth Floor
PAIR OF ENGLISH NUHIAN CONSOLES Late eighteenth century.
(7 ins. high, ;i| ins. wide, 20 ins. deep
NEW YORK 10022
Plaza 5-6807
George III Silver Shaped Coffee Pot
Maker: John Deacon, London 1771
Height: 10; in.
Antique English and Irish Silver
Old Sheffield Plate • Victorian Plate
ine Antiques; 3nt.
Bertram A. Wine
26 East 55th Street, New York, N.V. 10022
Tel: PLaza 9-5685
Members <>/ the Art ami Antique Dealers League of America Inc.
liHlllY HILL i: \LlEISItH
743 FIFTH AVE.
PLaza 3-8130
New York, N.Y. 1002!:
Cables: Berryhill New York
SUMMERTIME "PAYSAGES MONTAGNES"
by VLAMINCK; Circa 1910-1920
Signed Oils on Canvas 21$ 25 j ins.
Ex. Coll. "DELAQU ERR 1 ERE OF THE OPERA COMIQUE'
Purchased from Vlaminck one of bis many Artist Friends.
The < onnoisscur, September, i</>n
*
PETER MACK BROWN
1525 WISCONSIN AVENUE, N.W.
WASHINGTON, D. C.
A pair of superbly chased
Louis XV candlesticks in gilt bronze.
French: mid eighteenth century.
Height: H)\ inches.
CABLES:
'ANTIQUES'
WASHINGTON, D. C.
AREA CODE
202
FEDERAL 8-8484
KJ
I
t\ extrernel\ rare*
dollies horse. New KngluiMl.
Circa 1800. Height (>"> in.
\ similar example is show n
in trnerican Furniture o\ the
Federal Period, h\ Charles
Montgomery , iiumher 442.
c
d
herr\ Connecticut chest
of draw ers of t he fines!
iiualil v. Similar to number
.">}{ ill I lie eat alogue ol
Connecticut Furniture, 17th
and 1 8th Centuries, at the
\\ adsworl h A I heneum.
Id in. w ide, 20 in. deep,
47 in. high.
HERBERT F. SCHIFFER
ANTIQl / .s
609 West Lincoln Highway, Exton, Pennsylvania Telephone (215) 363-6889
Located fo miles west ol Philadelphia or Route /«' ;.• Mentha of llic Art and Antique nailers League of America, Im
/
i
A
I \ X \
SHOWCASE
Silot r Saloer with cast and pierced edge
eptionally fine duality. I. pinion 1744 b\
I'eter Arcliambo. Diameter 17 mr//<>. tl'eight
II. R.JESSOP Ltd.
3 MOTCOMB ST., BELGHAVE SQ.,
LONDON S.W.1 01-2352978
A I ottis XVI
ormolu 1 ./Mr/
<lo,k by
. iNDRIi
/' Rl / .1
/' WIS,
i 1 j 111. high.
H I H i I78O).
Philip & Bernard DOMBEY
174 KENSINGTON CHURCH STREET
LONDON W.K DAYswatcr 7100
\ llh'i 1 ( ol, 1
1
( >i<i< ;inai GUAi'i IK :s
1M< Asm> • IIRAQUG • MATISSt
( IIAC.AI 1 ■ MIRO • MOORIi
oilier masters and yonn^ printii).ikcr>
LUMLEY CAZALET LTD
1
V6>
Silt
117; ALWAYS HAVE AN ATTRAC-
7717;' COLLECTION OF OLD
TAPESTRY AND NEEDLEWORK
CI 'SHIONS.
E. B. SOUHAMI
61 PRINCl S ARCADE
I ONDON S.W.J
Regent 7196
One oj a selection of French marble fire-
places. Price ranoe from £,60
C. P. BURGE
162 SLOANE STREEI
LONDON, S.W.1 Sloane4240
and at Thames Ditton, Surrey
I 1AVIES s ! UEET, W.i
31-490 5058
R. E. PORTER
2 and 4 POST OFFICE
IIDUKNI.MOU'lll 1 4-
)■ fine
cory III
■66
ili.l Sihci
ofleePot
1 111. Inoh
I.
'hipham.
union
.ill-
ill.;.
HOAD
uirncnuiutli 242N9
As if you could
forget
The Chelsea
AUTUMN
ANTIQUES FAIR
Sept. [8th - 28th, 1968
CHELSEA
OLD TOWN HALL
LONDON S.W.3
I nil details from:
JOSEPHINE GRAHAME-BALLIN
21 GEORGE STREET Telephone
ST. ALBANS. HER I S. St. Albans 5G069
1 nusiutl Continental 1 6-sided Drum Table pro-
fusely inlaid in/// rare woods. ( lirca 1S20.
2 ft. 9 in. diameter. Price £ 145.
A. T. SILVESTER & Sons Ltd.
WARWICK ROAD, SOI IHULL
WARWICKSHIRE Solihull oSS.S
aiul at Warwick and Knoule
Specialists
in
Antique
Clock'
CHARLES FRODSHAM
& Co.
173 BROMP ION ROAD Ltd.
LONDON S.W.3 Kensington 1073
A most attractive (ieorgian silver calu
elaborately embossed border and with
panelled centre. London 1S24, by I.E.'
t2\ iii. (31 cm.) diameter. Weight: 450
M. P. LEVENE LTD
(Members: B.A.D.A.)
5 THURLOE PLACE, LOND01
Phones (01) 589 3755/3;
PAl I. STORR
LONDON 1828. to 0:
HILTON GALLERY
(F. E. Goold)
3 ST. MARY'S PASSAGE
CAMBRIDGE Cambridi
KNOTCLUPCDIA Itg
II UK All MS
FIREARMS
70s. (by post 74s. Oil.)
From oil good booksellers or from
Till; PL BI ISHINfi DI PL.
THE NATIONAL MAGAZINEG
22 ARMOURY WAY, LONDON
SI M M E R EXHIBITION 196S
Views of the Thames from
Greenwich to Windsor
Paintings by Canalctto, Samuel Scott, William Marlow,
Jan GrifTicr and others, shown in the setting of an 18th
Century Thames-side Palladian Villa.
Marble Hill House, Richmond Road, Twickenham.
3rd July - 15th Septentbei
I ues - Sat (and Hank I lol. Monday) 10 - 6, Sunday 2 - f>.
Admission Free
Free cat park. Refreshments available.
EXPORT TO EUROPE BY ADVERTISING IN
T 11 1: u u 1 im i n Kit
1969-1970
EUROPE'S LEADING DIRECTORY
now being prepared
(.0,00(1 names .in.l uddressee of Antique I Icnlcrs, Picture Galleries,
Markets, Exhibitions classified in Countries, Cities, To«
Street und Specialities. 1,100 pages.
Pre-publication price 56/- Creal Britain and Ireland, post paid
tdverttBing details and rates available front!
G.& F. GILL) NGHAM (ANTIQUE DEALERS AND EXPORTERS)
4 CREDITON HILL, HAMPSTEAD, LONDON, N.W.6
Telephone: 01-435 5644
EVERYBODY'S KEY TO THE TREASURE HOUSES OF EUROPE
ANDRfi MAVON
238, FAUBOURG SAINT-HONORE Tel. 227.22.43
On an XVIII century ebony pedestal
with bronze dore mounts.
ANTIQUE DEALERS'
FOURTH INTERNATIONAL
BIENNALE
GRAND PALAIS
PARIS
September 28 to October 20, 1968
Antique Dealers
Decorators
Jewellers
Goldsmiths
Rare Books
Exhibition and sale
every day from 11 a.m. to 11 p.m.
Saturdays and Sundays open at 10 a.m.
Information from: Syndicat National des Antiquaires
1 1, Rue Jean-Mermoz, Paris
The ( oniioisseur, September, 1968
1 KX\ Ml
kv York
S. J. Shrubsole London
Old Sheffield Plate
Antique English Silver
Antique Jewellery
Set of 12 George IV
Dinner Plates
Maker: I. M.
Diameter: 9\ inches
Weight: 197 ounces 19 dwt.
LONDON
George II Coffee Pot
London 1737
By Richard Gurney
and Thomas Cook
Height: 8| inches
Weight: 28 ounces 1 1 dwt.
Capacity: 32 ounces
NEW YORK
:w YORK
LONDO 4
EAST 57th STREET 10022 PLAZA 3-8920
iber of The National Antique and Art Dealers
>ciation of America Inc.
43 MUSEUM STREET W.C.I HOLBORN 2712
Member of the British Antique Dealers' Association Ltd.
AFRICAN BLACK
RHINO WITH TICK
BIRDS
President Theodore Roosevelt
selected this mavsive bronze
by Dr. James L. Clark as
the centerpiece for his
trophy room at Saga-
more Hill. Approxi- <fM
mately 30 in. high;
36 in. long.
OVER 50 BRONZES & BAS-RELIEFS ON EXHIBITION
PREVIEW BY INVITATION
A private preview and reception will be held the evening of
October 14. The proceeds of invitations at $20.00 per person
will be donated to wildlife conservation organizations and
natural history museums selected by Dr. and Mrs. Clark.
The favorite wildlife conservation organizations and natural history museums of Dr. and Mrs. I
Clark will benefit by 5% of the total proceeds of sales during the Exhibition. The co-sponsors
have donated several Clark Bronzes and Bas-Reliefs to be sold to the highest bidders during 1
the Special Invitational Preview. The entire proceeds of these sales will be distributed among the I
specified organizations.
The major portion of the Clark Collection
will be on permanent display at Hunting
World. 247 East 50th Street. New York
City After November 1, 1968.
After the Exhibition, representative selec-
tions of Clark Bronzes will be on display
at Abercrombie & Fitch in New York,
San Francisco and Chicago.
84-Page Collector's Catalogue of the Clark
Bronzes and Bas-Reliefs will be available prior to
and after the Exhibition from Hunting World. $2.00
Postpaid in U.S.A.; $3.00 Airmailed to Europe.
HUNTING WORLD
247 EAST 50th STREET, NEW YORK, N.Y. 10022
Cables: HUNTLEE NEW YORK
AT THE ABERCROMBIE & FITCH ART GALLERY
MADISON AVENUE & FORTY-FIFTH STREET, NEW YORK. CITY
You are cordially invited by
ABERCROMBIE & FITCH and HUNTING WORLD
to attend
rst Combined Exhibition of the Bronzes and Bas-Reliefs of
Dr. JAMES L. CLARK
Director Emeritus, Preparation & Installation
The American Museum of Natural History, New York
J PTOR • BIG GAME HUNTER • EXPLORER • SCIENTIST • CONSERVATIONIST ■ AUTHOR
and
SALLY CLARK
SCULPTOR • LECTURER • SPORTSWOMAN • EXPLORER • GEOGRAPHER
On the Occasion of Their Golden Wedding Anniversary
GIRAFFE
Cast for the very first time.
One of Dr. Clark's most
outstanding accomplish-
ments. A superb bronze of
a most difficult subject. 29
in. high, 13 in. wide.
SUK WARRIOR
Only thick, this bas-relief
by Saily Clark achieves the
effect of a sculpture modeled in
the round. Thanks to her keen
observation of these natives of
the Northern Frontier of
Kenya, Mrs. Clark has cap-
tured perfect perspective. Ap-
proximately 10 in. high.
GRIZZLY BEAR
Designed by Dr. Clark as a
tribute to President Theo-
dore Roosevelt. First cast
on exhibition. 24 in. high;
17 in. wide and 10 in. deep
at base.
KAN WHITE
P
I y piece ever done by
J irk in a modernistic
j it. Most appropriately,
'1 te Sheep has been cast
d ting Silver. Approxi-
1 10 in. high; 10 in. long.
50 YEARS OF ANIMAL SCULPTURE BY A
RENOWNED HUSBAND-AND-WIFE TEAM
M'BETU BOY OF
THE CONGO
Another bis-relief with a great
feeling of depth which illus-
trates Sally Clark's unique skill.
Only thick; approximately
10 in high.
DINKA WARRIOR
A magnificent study repre-
sentative of a primitive
people of the upper Nile
whose number is steadily
dwindling; the product of
one of Mrs. Clark's expedi-
tions to the South Sudan.
Approximately 20 in. high.
The position of Dr. and Mrs. Clark in hi field of animal sculpture is unique. The grace and vitality of their bron2e<; and bas-
reliefs could only have resulted from a i ire nalgam of great natural talent, expert training in art and sculpture anr a vast and
searching background as leaders and memb of expeditions into the game fields of the world. Their works are easured by
museums, sportsmen and connoisseurs the worl o er.
Abercrombie & Fitch
— 1 • . »rf
Hflj
t
• B
c
/flCX 1 INK I I K N I S 1 1 I \ ( , S
Antique Irish serving board,
made of mahogany with
splash back and plate rail.
Bell llowcr and fan inlay of
satinwood. faded nut brown
colour, original brasses, ser-
pentine front. 5ft. 7 ins. wide,
i'J\ ins. (hep, 44\ ins. high to
tnpoj bach board. Circa 1790.
Price $2400.00.
562 LINCOLN AVENUE. WINNETKA.
H I LLCREST 6-0912
Rowland's Antiques
Route 202 - Route 413
Buckingham, Bucks County, Pennsylvania
Telephone: (215) 794-7611
si LEG! ION OF
i Nth ( cntui v ( Ircamware
decorated with religious scenes
Antiques and works of Art
Antique Duncan Fyffe mahogany sofa covered in green velvet i
excellent condition. Circa 1800
An original oil painting by William Bromley titled 'The Ol
Apple Seller'
CALLARD OF LONDON
GALLERIES
127 EAST OAK STREET CHICAGO, ILL. 6061
Phone: DELawarc 7-4320
'I In < Connoisseur, Si pu inW r, 1068
I X X X 1 1
<^American Artistry in Wood
1
•
*.
.SW7Z,. CHAP IN,
^ C aVmet Busine
s s
NORV/ICH , COA//V .
A CONNECTICUT
CABINETMAKER
DISCOVERED
the famous Chapin name of Cabinet-
makers we add Samuel Chapin of Norwich,
whose label was found inside this small in-
laid cherrywood secretary. Fortunately the
label and piece have remained in wonderful
condition. Interior constructed of chestnut.
You are cordially invited to visit our
shop where a rine quality of 1 8th century
American antiques are exhibited.
JOHN S, WALTON inc.
16 East 52nd Street, Nev\ ork 22, N.Y. • Plaza 7-0484
We take pride in maintaining a stock of ONLY AMERICAN ANTIQUF. FURNITURF -looking glasses excepted.
SOTHEBY'S
(Affiliated Company: Parke-Bernet Galleries Inc.)
will hold the following sales in October, each sale beginning at 1 1 am unless otherwise stated
ON VIEW AT LFAST TWO DAYS PRIOR ALL CATALOGUES POST FREE
LONDON
Sotheby & Co
P.O. Box 2AA
34-35 New Bond St.. London W1
Telephone: 01 493 7242
Telex: London 24454
Telegrams: Abinitio, London
NEW YORK
Parke-Bernet Galleries Inc
930 Madison Av.. New York 1 0021
Telephone: 21 2-879-8300
Telex: New York 222643
Telegrams Parkgal, New York
Sotheby's of London Ltd.
980 Madison Av.. New York 1 0021
Telephone: 21 2 758-2891
Telegrams' Abinitio, New York
CALIFORNIA
Sotheby's of London Ltd.
The Executive Life Building, Suite 904
9377 Wilshire Boulevard
Beverly Hills. California 9021 0
Telephone 213-274-7329
7"e/ex:677120
TORONTO
Sotheby & Co (Canada) Ltd.
Simpsons Downtown, 6th floor
1 76 Yonge St . Toronto 1
Telephone: (41 6) 861 -6761
Telegrams Abinitio, Toronto
PARIS
Pans Representative for
Sotheby & Co.
& Parke-Bernet Galleries Inc.
Valentin Abdy
8 Rue de Duras, Paris 8e
Telephone ANJOU 2599
FLORENCE
Italian Representative for
Sotheby & Co.
& Parke-Bernet Galleries Inc.
A Chesne Dauphme
Lungarno Corsini 42r
Florence
Telephone: 24264
BEIRUT
Representative for
Sotheby & Co.
& Parke-Bernet Galleries Inc.
Mouniro 0 Attallah
P.O. Box 7095
Beirut
Lebanon
Telephone: 226338
MELBOURNE
Australian Representative for
Sotheby & Co.
& Parke-Bernet Galleries Inc.
R H.T. Longden
P.O. Box 5
Collins Street
Melbourne. Victoria
Australia 3000
Telegrams: Abinitio. Melbourne
Wednesday. 2nd October
Eighteenth and Nineteenth
Century Paintings
the property of various owners, including examples
by W. Kurd, II. Boddington, A. Bouvard, T.
Buttcrsworth, O. Clare, A. Cooper, F. Dauby, J. F.
Herring, B. W. Leader, C. Leslie, J. C. Maggs.J.
Meadows, ). I». Pettit, |. R. Payne, J. MeWhirter
and W. Williams. ( 'at.
Thursday. 3rd October, at 2 30 pm
Eighteenth and Nineteenth
Century Drawings
the property ol various owners, including examples
by II. Aiken. II. li. Brabazon, W. ( allow, P. La
Cave, I V Cox, |. Cristall, |. Downman, Sir W.
Russell Flint, M. Birket f oster, A. Goodwin, R.
I [ills, s. | [owitt, I . I ear, J. F. l ewis, W. J. Mullcr,
Sir A. Munnings, S. Prout, A. rhorburn and (.
Vat-lev. III. Cat/
Thursday. 3rd October
English and Foreign Silver and Plate
the property ol various o\\ ners. III. ( 'at.
Friday. 4th October
English and Continental Furniture,
Rugs and Carpets
ie proper
tv ol various ow ners. 111. Cat.
Monday. 7th October, and following two
days
Printed Books
the property ol various o\\ ners. ( 'at.
Monday. 7th October, and following day
English Pottery and Porcelain
the property of Mrs. C. A. F. Wood, Mrs. 1 . Travcrs
Nicol, Mrs. |). Alcock and other owners, including
a Staffordshire slipware braggct pot, Ralph Wood
figures and plaques, a rare Whieldon plaque in
imitation ol Palissv, Staffordshire figures and I ob)
[u<»s, saltglazc wares and solid agate eats, Wcdg-
u ood and other c reamwarc, inc hiding a plate from
the Imperial Russian service, and a teapot enamelled
by David Rhodes; a Row figure ot the Sultan's
wile, Derby candlestick groups and a figure ol
Milton, Worcester and other eighteenth century
wares, including a pair ol apple-green chocolate
cups and s. inters, a rare transfer-printed howl, a
|ap. m-pattern water-bottle and basin and a 'sun-
hurst' part service ; services for tea, coffee and dessert,
including a Mmton turquoise-ground dessert ser-
vice, and a Bloor Derby apple-gill
service, also nineteenth century porcela
a pair of Mmton Pate-sur-Patc Basks
and I >erbv plates and dishes decorated
Dodson. Ml. Cat.
Tuesday. 8th October, at 1 1 am a I
Old Master Engravings, Etch J
and Woodcuts
the property ot His Grace the Duke c,l
bcrland, K.G., Professor David F. Ar
Olive Lloyd Raker, J.I'., and other ow
ing Los Caprichos the set of 8o plate
edition by Francisco Goya, a large grofj
ings and woodcuts by Albrccht Diirci
Rembrandt, Ostadc, chiaroscuro woofl
di Carpi, Antonio da Trcnto, A. M. j
Blocmacrt, J. B. [ackson, and J. Skippe
Wednesday. 9th October
Old Master Paintings
the property ot Sir Dennis Stuclcy, 1
ow ners. C 'at. 2.?.
Thursday, 10th October
English and Continental
Silver and Plate
the property ol various ow ners.
l.Ca
Thursday. 1 0th October
Fine Jewels
the property of Miss I. Souza, Miss P.
1 lolmes, the late Mrs. J. A. Row,
Bennett, Mrs. E. Glenn Allen, Miss M
A. Walker, Esq., Miss E. V. Harm-to
I crry, and other owners, including sc
cut diamond single-stone rings, thr
step-cut diamond rings, two diamos
jewelled silver-gilt chalice, a dun:
several diamond flexible bracelets, an
brooch, an important emerald and di.
brooch, another brooch in emeralds
diamonds, a number of rings in <
diamonds, and sapphires and diamoi
bracelet in sapphires and diamonds 1
tiara necklace in pearls and diamonds!
ami diamond (lower cluster brooch,
( luiliano, and a iyth centur\ topaz
flower cluster ring. ( 'at. (y plates) 4.?.
Friday. 1 1 th October
English and Continental Fur
Clocks, Rugs and Carpets
the propcrt) ol various ow ners. III. C.i
T in- Connoisseur, September, i'/jS
I XXXIV
i, th October
ni Armour
TO >f various owners. III. C l.it.
th October, and following day
i \ >oks and Fishing
<g
>f various owners. Cat.
>th October, and following day
Medals
>fjames Mac] larg, Ls
.the late W. E.
other owners, including a small col-
j )ice English milled gold coins, other
<i >rcign coins and specimen sets in gold
[collection of naval and military cam-
ill , and other orders, decorations and
5th October
lese Works of Art
of a Gentleman, and other owners,
collection of netsuke, including works
i, Mitsuhiro, Kokusai, Okatomo, Shu-
Kokei, Tamctaka, Masanao ol Yama-
radayoshi and unsigned wood and
e; a fine collection of inro, including
^eshin, I okasai, Slnomi, Masanari,
id others, good Kagamibuta and
'at.
5th October, and following day
ese Porcelain
s of Art
of the late Mrs Walter Sedgwick,
owners, comprising Ming lacquers,
i early fifteenth century box with
irly Ming black lacquer dish, a sixteenth
burgautc dish, a series ol sixteenth
ed and incised pieces; also Ming and
.'lam, including early fifteenth < enturv
ite dishes, a I Isiian ! e marked howl with
dragons, a Ch'cng Hua palace howl
vine, two Ch'cng Hua ton ts'ai small
i Hung Chih blue and yellow dish,
imperial yellow wares, including a
a bowl and wine tups and an imperial
pot. III. Cat.
y. 1 6th October
teenth and Nineteenth
British and Continental
a" of various owners, including narrative
^ tie Blaas, M. Blum, A. Brandcis, W.
, S. ( o, .p. i , M. Duvet gi i , f. \V God-
| rimshaw, J. (-'. Herring, P. Hunt, Y.
|/. Leader, II. S. Mark's, [>. Sadee, K.
I. Shaver, A. Trcvani, S. E. Waller and
B also I )utch paintings by '.. I )ommcr-
I ncr, A. Hulk, H. )'. Koekkock, M. A.
II W. Koekkock, J. J. Schcnkcl, C.
, H. Verheijen, and examples In I. C.
, J. W. Carmichael, E. Ciardi, l:.
I Dawson, A. Goodwin, W. Havell, ('.
' . Linnell.G. W. Mote, W.J. Mullcr, I .
S. R. Percy, E. Stannard, F. R. Untcr-
'ebb, andG. Webster. Cat.(i8plates)6i.
Thursday, 1 7th October
English and Continental Silver
and Plate
the property of various owners. 111. ( 'at.
Friday, 1 8th October
English and Continental Furniture,
Rugs and Carpets
the property of various owners. 111. ( !at.
Monday. 21 st October
Greek and Russian Icons, Works of
Art, and Objects of Vertu
the property ol various owners, comprising a hue
Russian icon ol the transfiguration, c. iooo, a
Russian icon of St. Nicholas, a gold and enamel
compact In (. 'artier, a gold and enamel snail bon-
bonnicrc; a set ol six Russian silver and enamel
goblets, a Faberge silver kettle, and a group of
cloisonne enamel cigarette cases. ( !at. (2 plates) 2s.
Monday, 21 st October, and following day
Printed Books comprising The
Celebrated Collection of
Scienceand Surveying (Part8)
the property
F.R.I.( l.S.Cat.
of C. E. Kcnney, Esq., L.A.S.
Monday, 21 st October
Important English and Continental
Portrait Miniatures
the property of the Trustees ol the late Mrs. I II.
O. de la I ley, and the propert) of Major K. M. O.
de la I ley. (Second Portion) III. ( at.
Monday. 21 st October, and following day
English Pottery and Porcelain
the property ol various owners, including two
collections ol English Delftware, saltglaze and
creamwarc. III. C at.
Tuesday, 22nd Oclobet
Continental Literature, Modern
Illustrated Books, Important
Periodicals and Works of Reference
the property ol various owners. III. ('at.
Tuesday, 22nd October
Egyptian, Western Asiatic, Greek,
Etruscan and Roman Antiquities,
Islamic Pottery, Indian Sculpture,
African, Oceanic, and Pre-Columbian
Art
the pi 1 iperty ol various owners. Cat. 15.
Wednesday, 23rd October
Old Master Paintings
the p- mm ..,' i he Rt. I Ion. Lady Vansittart,
Lady Mi >■ a) and other owners. 111. Cat.
Thursday. 24th October
English and Foreign Silver and Plate
the property of various owners. 111. ( lat.
Friday. 25th October
English and Continental Furniture,
Rugs and Carpets
the propert) of various owners. 111. Cat.
Monday, 28th October, and following day
Printed Books
the propert) of various owners. ( )at.
Monday. 28th October
Fine French Paperweights
the property ol various owners, including attrat tive
millcfiori weights, good flower ami bouquet
weights, a fine St. Louis moulded salamander
weight, and a very rare St. Louis encased green
overlay weight. Cat.
Monday, 28th October, and following day
Oriental Ceramics and Works of Art
the property of various owners, including cloi-
sonne enamels, jade ami hardstonc carvings, Japan-
ese porcelain, early Chinese wares, FawiUc-Vcrlc
and 'Faillilk'-Rosc porcelain and blue and white
wares. III. ( 'at.
Tuesday. 29th October at 2.30 pm
Prints and Views
the property ol various owners, comprising spott-
ing prints, naval and military subjects, decorative
pi nits anil views. III. ( !at.
Wednesday. 30th 0< tubei
Eighteenth and Nineteenth
Century Paintings
the property of various owners. III. ( !at.
Thursday, 31 st Octobei
Fine Jewels
the property of various owners. III. (
Thursday, 31 st October
English and Continental Silver
and Plate
the property of various owners. III. ( !at.
Friday 1 st November
English and Continental Furniture,
Rugs and Carpets
the propert) of various owners. III. Cat.
LXXXV
PARKE-BERNET GALLERIES • Inc
Affiliated with Sotheby & Co., London
980 MADISON AVENUE, NEW YORK, NY 10021
WEDNESDAY, 25th SEPTEMBER, at 8 pm
BRITISH PAINTINGS, WATERCOLOURS
AND SCULPTURE (1740-1968)
including works by
WILLIAM JAMES GEORGE STUBBS JOHN FERNELEY, SNR. • THOMAS ROBINS the younger
JOHN SINGER SARGENT • SIR ALFRED MUNNINGS • BEN MARSHALL • SIR WINSTON CHURCHILL
GRAHAM SUTHERLAND • WILLIAM SCOTT and FRANCIS BACON
the property of Sir John Dilke, Bt . Doris and Francois Lulhn. of Geneva, Switzerland, and other owners
John Ferneley. Snr Three Hunters Signed and dated 1830. 43^ by 6|
On view , it Parke-Bernet Galleries, Tuesday. 24th. and Wednesday, 25th September
Catalogue (44 illustrations. 10 in colour ) $3.50. by mail $4.50, available from Mary's during the exhibition
and at Parke-Bernet Galleries, or at Sotheby & Co , 34-35 New Bond Street. London Wl
Parke - Berne t at Macy's
A special showing of this collection, which has been assembled in England by Sotheby Et Co., will be held at
Macy's, Herald Square (9th floor), New York, from Wednesday, 1 1th September until Saturday, 21st Septem
as part of Macy's Festival of Great Britain
Parke-Bernet Galleries will have a representative at Macy's to answer questions and take bids
J.KUGEL
7, RUE DE LA PAIX, PARIS
NfD GOLD BOXES Tel: OPE 61.04 OBJETS DE VERTU
IQUE OLD WATCHES
i'TAL SILVER MINIATURES
Triangular Agate inkstand with gilt bronze mounts.
Venetian. Circa 1600. Length: 29 cm.
William and Mary bureau veneered in figured and
burr walnut which has faded to an exceptionally fine colour.
Height: 41 niches. Width: 35 inches Depth: 22 inches.
SPINK
Founded 1666
ORIENTAL ART ANTIQUE SILVER EUROPEAN GLASS & PORCELAIN ANTIQUE FURNITURE
ENGLISH PAINTINGS & DRAWINGS CLASSICAL ANTIQUITIES COINS MEDALS & ORDERS
Spink & Son Ltd., King Street, St. James's, London, S.W.1. Telephone: 01-930 5275. Cables: Spink London, S.W.1.
V^illa Cerro restored cuf™ m^ra*
•iedmont home of Mr. and Mrs. A. T. F. McNeill
i. Before restoration, the courtyard and entrance
front of Villa Cerro. The building mainly
belongs to the mid-nineteenth century, but
parts date to the fifteenth-sixteenth century.
TO many a traveller in Italy the earliest experiences ot the
pleasures of architecture to be enjoyed are not those presented
by the masterpieces of Bramantc, Michelangelo and Palladio,
but those afforded by the farmhouses of the North Italian
countryside, with their pleasing long proportions, their orange-
red tiled roofs, the triple areadmg ot the entrance loggia, and
perhaps the open tilcwork walling ot wagon-shed or storage
barn. Such houses are as traditional to Italy as are in England the
Elizabethan stone farmhouses of Somersetshire or the Cotswolds,
or the William and Mary houses of other counties, and are no
less attractive to modern workers in cities as country Ik .uses.
Mr. A. T. F. McNeill, a member of a large British international
company operating on the Continent, was centred m Northern
Italy for several years. Mr. and Mrs. McNeill, having a deep
fondness for the country, conceived the desire ot creating a home
that would combine the essential character ot an Italian house
with something of the atmosphere ot traditional English
surroundings.
After many months of searching through the little-known
valleys of the Piedmont countryside, in company with then-
architect, they eventually discovered, set on a hillside overlooking
a valley south-east of Turin, a building that offered 'possibilities .
That is to say, a farmhouse, almost completely ruinous (Nos. i
and 2), but capable of being re-built; mainly belonging to the
mid-nineteenth century, but in parts lying buried beneath dating
back to the fifteenth century. It had been vacant for some thirty
years, and despite its condition, in its general massing it displayed
great simple beauty of form and proportion, and was exactly the
right size to make an easily worked family home. The house was
built on a protruding sandstone bluff against a w ooded hillside
2. Before restoration this was the only staircase to the house,
which is now the Writing Room. Note the vaulted ceiling.
in the 0111
I
Colour. The Entrance Courtyard. To the left the original storage and
wagon sheds have been converted to domestic quarters. In the main part
of the house a loggia of three arches of traditional type forms the principal'
entrance, in place of the former plain doorway. The floor of the courtyard
is formed of squared cobbles laid in radiating patterns.
Colour, (h) The Hall. The twin arches with their columns and the staircase,
beyond are newly introduced features of Italian workmanship executed
in traditional style. The walls are covered with green striped Hock paper:
the circular mirror is English Regency. The gilt metal lamp is also English.
I he centre table with top of ve rde antico marble and urn-shaped pedestal
is modern Italian, from Florence.
Colour, (c) The Dining Room. Again the setting is in the English tradition,
with mahogany dark red silk-covered walls. Regency sideboard, urns,
dining-table and chairs and Adam fireplace. The set of carved ami gilt
wood sconces are Italian.
Colour, (il) The Principal Bedroom. An atmosphere of restrained and
resilul simplicity of furnishing and decoration offsets the splendour of the
bed-hangings and cover of French material. These depend from an
extension of (he cornice moulding w hich forms a half-canopy. The chair
ami stand are English Queen Anne, the bedside cupboards are of the
( Ihippendalc period.
3. Villa Ccrro from the approach road. The house faces due south, is built
on a rocky ledge of the hillside supported by a revetment of brick arches
and concrete.
(No. 3), commanding a remarkable view looking smith with the
Basilica di Superga on the skyline and, on a clear day, the Alps
gleaming in the sunshine, appearing as though suspended 111 the
sky. The proportions of the house were also immediately pleasing,
particularly its long facade. At one end were farm buildings.
Although the house was 111 an extremely dilapidated state certain
features were very attractive, particularly the moulded cornice
under the eaves, the broad terrace, the shallow root of red tiles,
and, most intriguing of all, ceilings slightly vaulted with a gentle
curve in several of the rooms. On the other hand the two en-
trances, tine at the western end of the house and another from the
centre of the terrace w ere both ordinary and typical of a peasant
cottage, and the only stair giving access to the upper rooms
was an affair of open treads (No. 2), little better than a primitive
ladder, in a back room. The house had always been known as the
Cascina Cerro, the word cascind'm local usage indicating a dairy-
farm, and the property has now been restored to its ancient
function, the valley which it overlooks providing good pasture
and sunlight all through the year. (The steep slopes are unsuitable
for arable farming, the ploughing of which would create prob-
lems of erosion.)
In deciding upon an architect to design and carr\ out the work
of converting a ruinous farmhouse into a gracious dwelling,
Mr. McNeill chose Mr. Ian F. Warwick, who had been associated
with his own firm and with others throughout Italy in designing
a number of important buildings 111 which the necessity for
imaginative treatment was no less important than purely
commercial and functional considerations, including the head-
quarters building of the British Petroleum Company in Milan,
and the large motorway station w ith an hotel and restaurant at
the Bologna junction on the Florence autostrada. Mr. Warwick
had also' carried out similar work at the Villa U Bacio, near
F lorence for Mr A. W. Sandford, and at a palazzo 111 the Corso
Vcnezia 111 Milan for Commcndatore RifFeser.
Mr. Warwick was to succeed in developing the aesthetic and
functional possibilities which the building embodied in a highly
perceptive and original manner. A new entrance gateway with
fine square piers was built, a new gravel drive was laid, and the
rough courtyard before the house was attractively laid our with
mature cypress trees, and a fountain, and paved 111 squared flint
blocks in traditional radiating patterns (colour plate [a]). me
old brick farm buildings just inside the drive gatewa) eere
4. The Terrace, looking west. The stone balustrade, the fountain and the
carved stone furniture arc modern work in i>iclr,i di I 'icenza.
removed, ami a new house built to accommodate the family
who now farm the land. The long range of storage barns and
wagon-sheds w.is re-built, the part immediately adjoining the
house being adapted to provide .1 boiler room, oil t.ink, ^.ir.fjr
and laundry on the ground floor, together with .1 kitchen, and .1
children s dining room adjoining. Above are staff quarters,
rhese have an open loggia on the hrst floor with a wooden
balcony of lyre-shaped supports overlooking the entrance
courtyard. Nearer the gateway the old sheds were re-constructed
to form a hay-barn, with the trout wall built ol open tiling.
At the entrance end of the mam part of the house the original
plain wall and simple doorway were opened up and a new loggia
of three round arches (colour plate |a|) with coupled columns,
and a marble floor was formed in traditional Italian fashion to
create .1 sheltered and attractive entrance. Tew fundamental
alterations w ere made 111 the character of the main facade. Some
small square openings under the eaves above the first floor
windows, which gave light and air to storage space 111 the roof,
were converted to oval blind recesses, coloured dark grew, that
successfully relieve the plain white walls. On the terrace front
the central cntiaee door was enlarged and given a round-headed
opening, and the centre of this front was further emphasized by
being given a small open belfry above the eaves. I he new
windows recessed 111 the depth of the walls were given attractive
wooden shutters which again help to relieve the otherwise
unorna merited facade. The original simple but pleasing cornice
under the eaves was restored and retained.
An important original feature of the house was the broad
I
krrace, built up from the steep hillside on retaining arches of
rickwork. This revetment had collapsed in places and was
;-built with concrete reinforcement, and the broken and rusty
ite nineteenth-century iron balustrade was replaced by a new
cone balustrade (No. 4). A delightful stone fountain was set up
n the terrace, surrounded by grass, paving and carved stone
;ats and with terracotta urns for plants. At one end of the
errace a pergola carrying grape vines has been re-built with
pare stone columns and beams, forming a pleasing place for
neals out-of-doors, again using carved stone furniture. The
'iew over the wooded hills of the gentle Piedmontese country-
ide, with the Alps shining spectrally in the tar distance, is a
lerpetual joy. Beyond the terrace lies the garden, consisting of a
mall square lawn, again with a stone balustrade and terracotta
irns, and having a square, white-walled, red-tiled orangery
djoining. Further beyond, the garden merges into the wild
ocky, tree-covered hillside, but at the toot of the slope there
tands at the focus of the vista a most exquisitely conceived and
harming feature, a bathing pavilion (No. 5), designed as a
niniature copy of the Temple of Vesta at Rome with its circle of
mooth Doric columns and shallow conical roof of red tiles.
Before it lies the bathing-pool, which is of pleasantly irregular
curvilinear shape.
Within the entrance loggia, a new door leads into a small
square hall that retains an ancient ami massive arched buttress
(No. 6). From here a corridor has been created running through
the whole length of the house at the back of the 111.1111 rooms, and
giving convenient access to all parts of the house. The corridor
has arched openings at intervals, and is floored with marble in
small black squares on a white ground. In the centre the corridor
was opened out on the rear side to allow a new main staircase
to be formed of black ami white marble, winding gracefully round
in a semi-circle, with a most elegant hand-rail and delicate
wrought-iron and brass balusters of charming Adamcsquc
design (No. 7). Flanking the stairs on one side are a store-room
and on the other a cloak room. Beyond the staircase the corridor
again expands, this time into an oval Rotondo, with a vaulted
ceiling. The initials of Mr. and Mrs. McNeill, together with the
date of the completion ot the house (i</>s) are set in blac k in the
white marble ot the Boor (No. 10).
From whichever end of the house one looks through the
corridor one is delighted by the succession of varied shapes
6. Entrance Hall and rear corridor, stretching through to the Library.
The great buttress seen is a feature of the original fifteenth-century farm-
house. The floor is of black and white marble; the hall-table English
Regency, one of a pair in the style of George Smith.
7. The Staircase, the niches holding statues of Mora and Ceres in white-
glazed Bassano faenza. The elaborately ornamented doorway leads across
a little bridge to a small garden house cut into the hillside behind the villa.
receding into the distance. Looking back to the entrance one sd ■
that the vista is hi led by a glimpse of the courtyard founts
appearing in the opening of the entrance door.
From the Rotondo one enters the Library (No. y), a sm
rectangular room where bookcases of classical design wi
Ionic pilasters and a fluted frieze have been built in, togeth
with an Adam fireplace surround 111 marble and pinewoc
brought from England.
On the terrace front, the central double door opens into t
Inner Hall, where the staircase beyond is seen through a screen
twin arches, supported in the centre by the pleasantly origin
feature of coupled columns. Another subtle detail is the slig
vaulting of the celling. Here in the Hall (colour plate |b|)
distinctly English note is struck by green striped flock wallpapc
by the English Regency convex mirror (of very unusual ty)
with a crest of sea-horses), and the Regency hall-chairs. The vei
attractive circular centre-table, with its top of vcrdc-antk
marble and vase-shaped pedestal support is modern Italian. Tl
whole of this interior arrangement of the Hall, with its arches ar
columns, and of the staircase with its elegant curve of steps ar
hand-rail, the niches containing statues of modern Italian white
glazed faenza, and the door leading across a bridge to an aveni
011 the hillside behind, is all enchantingly conceived. Indee
throughout the house, wherever one turns, one is confronted b
a delightful vista or pleasing composition of architectural fori]
or decorative features.
The fortunate choice of architect was happily matched wit
the commissioning as interior decorator of Mr. Alasta
Macdonald, who has been associated with Mr. Warwick 111 th
remodelling of a number of houses. I he colour scheme an
furnishing of the rooms were his responsibility, and preser
harmonies of colour that are always intriguing, individual an
exciting, yet never garish, obtrusive or insistent. Mr. Macdonal
also chose the varied items of English furniture — of the Quee
Anne, Chippendale, Hcpplcwhite, Sheraton and Regenc
periods that complete this predominantly English interio
within an Italian house.
To the left of the Inner Hall is the Dining Room (colour plat
|c|), originally two small rooms. It is served hV>m the Kitchen ii
the immediately adjoining portion of the start • nig. The Dininj
Room is now perhaps the most splendid 100m in the house. It ha
been given a traditionally English character by the red, silk
covered w alls, curtains of red silk with lull-pleats on the pelmets
the Sheraton dinmg-table. Regency sideboard and chairs am
Adam design fireplace, l he handsome carved and gilt woo<
sconces in the form of musical trophies are, however, Florentine
A Samarkand carpet covers the floor.
from the right-hand door of the Inner Hall one enters tin
Drawing Room (No. ,s), which retains its original, slightl)
vaulted ceiling. A highly practical as well as decorative feature an
the w indow-seats, w hich are of light grey marble, w ith radiator;
under. I he unadorned plainness of the walls w hich are a faintly
pinkish white, with w lute painted woodwork, is relieved In the
elaborate window-drapery. I his is of shot-silk 111 graduated
stupes of greenish-blue with rose-pink fringes. I he floor is com-
posed of traditional pale pink terracotta tiles, covered with a fine
Persian carpet, in tones ol blue, lawn and terracotta, lhe up-
holstered settee and armchairs are covered in a pmk velvet
thai e< hoes the pmk tones of the curtains and carpet. I he most
striking article of furniture in the room is an imposing Queen
Anne period secretaire-cabinet, in figured walnut on bracket
feet and with .1 broken pediment. I here are also a small Queen
Anne period walnut writing-table with mirror above, and.
8. The Drawing Room. The plainness of the room is relieved by the
slight vaulting of the ceiling. Apart from the Chippendale tripod tea-
table, the furniture is mostly English of the Queen Anne period. The
large painting of birds is by Pieter Van Ruyven and isdated 1703.
9. The Library. The fireplace is of Adam design, the yellow rug Samar-
kand.
10. The Rotondo and rear corridor, looking through the house from the
Library to the courtyard fountain. The initials formed in the black and
, white marble of the floor commemorate the initials of the owners, Mr.
and Mrs. A. T. F. McNeill, and the date of the completion of the house.
I I . I he principal bathroom. The glazed tiles are modern Italian.
of the same period, a bureau in light burr walnut with ball fe<
chairs and stool, and very fine Chippendale tripod tea-table wi? i
carved legs and gallery top.
A small room beyond the Drawing Room forms a Writii
Room or Study. It was from here that the open wooden stai
(No. 2) rose to the hrst floor. The walls and woodwork a
again white, the curtains of a flower-pattern striped chintz
shades of green, gold and frwn, and the settee covered in sof
toned peacock-blue wild silk. A Chippendale period mahogar
chest, a small mahogany bureau and an armchair of the san-
period are the main articles of furniture. An important smalli
item is the balloon-shaped, mahogany bracket clock of aboi
1780 by George Tupman of London.
To the rear of the Drawing Room and Study is the Librari
(No. 9). The curtains here are of green silk with gold braii
those of the large double garden-doors being hung on a curve
pelmet. A large yellow Samarkand rug partly covers the pink
tiled floor, and there are early Georgian and Chippendale perio
mahogany armchairs and a Sheraton leather-topped drum-tablr
on reeded claw-legs.
—
The principal Bedroom (colour plate [d]) has an atmosphere o,
restful simplicity created by the pale greenish-grey of the walk
by the paintwork of the doors in two tones of pale grey, and by
the off-white Indian carpeting. Contrasting with this reticence i
the magnificent bed, the canopy of which depends from ai
extension of the cornice moulding of the room. The hangings an
of silk in fond-bisc, pleated on the canopy, plain on the bed-cover
and with yellow linings. The canopy-pelmet and the bed-
surround are shaped and patterned in the Queen Anne mannei
and the window curtains and pelmets match those of the bed.
Three guest bedrooms, a suite of rooms for children, toui
bathrooms and a small chapel, comprise the remainder of the
accommodation.
A particularly interesting aspect of the house is the use made of
modern Italian products of traditional inspiration, although not
slavishly copied from the antique. All the new carved stonework,*
the terrace balustrade and terrace fountain, the courtyard!
fountain, the stone garden seats, the external statues, the Stone]
urns, the columns of the loggia, inner hall and bathing pavilion!
and other architectural stonework were all supplied to the]
required design by a remarkable firm of stonemasons and)
sculptors at Viccnza, and made 111 the same Pietra di Vicenza asr
that of which many of the buildings of Venice are constructed.?
It was only necessary to supply a clear sketch with a tew necessary
measurements to have it interpreted 111 a pleasing sensitive .
and intelligent fashion. The traditional Florentine terracotta
jardinieres for plants are also of modern Italian manufacture.
The imposing lite-size female figures in the niches of the stair-
case (No. 7), representing Ceres and Flora, are modern highly-
glazed faenza figures of Bass. mo ware, which is produced in a 1
number of small factories 111 the villages around Bassano di
Grappa, in the Veneto. The products of these factories are !
usually finished 111 brilliant colours, but for this particular |
commission the figures were left white. A very high degree of j
skill w as exerc ised 111 making them in order to avoid the cracking
which often occurs 111 the course of tiring when objects of such
a si/e are made 111 this technique.
Altogether tin- re-born Villa Ccrro, as k is now known
represents .1 remarkable and successful achievement in the
exercise of imagination, skill and taste in giving realization to the '
dcsin- to create .111 laiglish atmosphere 111 an authentic Italian
setting.
Photography by E. Pctraroli, Milan.
8
\ newly discovered Sickert
ILLIAN BROWSE
3IAGHILEVS famous challenge to Cocteau 'Etonne moi'
is one that I am tempted to issue whenever an unknown
ickert is brought tor my inspection. I long to be shown a paint-
lg completely different in style and subject from those that
lake up the splendid oeuvrcwkh which I havebecomeso familiar,
am always hoping to discover that small group of paintings of
Cornwall, Ramsgate, Le Treport and Scheveningen, which
gured in the Royal Society of British Artists' Exhibitions from
| le winter of 1XN4-S until the more recognisable titles appear in
[be New English Art catalogues from 18X8 onwards.
Mrs. Barnes-Brand, the daughter of Brandon Thomas
Sickert's old friend from the days of his brief theatrical career
nd author of Charlie's Aunt) did surprise me. She brought me the
painting, reproduced here by courtesy of Mr. and Mrs. Paul
fvdellon, the enchanting and surprising Bench at Scheveningen which
> probably the most important painting of the series I so much
vished to find, it had belonged to the Brandon Thomas family
rom the time of its inception, had remained quietly within their
tome and now, through force of circumstances, had been
Irought into the open to add another clue to the understanding of
iickcrt's beginnings. It was a major discovery and was unlike any
other Sickert I had seen before, with the single exception of the
Dowager Lady Abcrconway's On the Sands, St. Ives, a tiny tenta-
tive panel of 1883 to which it bore some resemblance.
In 1885, Sickert and his young wife went to Dieppe on their
honeymoon after having visited Scheveningen, Munich, Vienna
and Milan. At the R.B.A. 111 the winter of 1 887, Sickert exhibited
a Sketch of Scheveningen and in the next year Deserted Scheveningen
as well as a watercolour, the Kurliuis at Scheveningen. The first
may well be the curious little sketch belonging to Mr. Edward
Speelman (No. 1); the last two, as far as I know, have not yet
come to light. The Speelman panel, the Mellon painting and
some etchings of Scheveningen are all studies on the sands in
which strong emphasis is laid upon the beach chairs, shaped like
sentry-boxes as a shield against the wind. Sickert rarely dated his
work but these examples are dated t88y — two years after his
visit to the Dutch resort and this being so it would seem that
certain paintings tentatively given to this year might now have to
be reconsidered. For although the Scheveningen etchings (No. 2)
arcstill recognisably by 'a pupil of Whistler," as are various modest
low-toned paintings known to have been done between the years
[884 and [886, the brightly coloured little Speelman panel bears
I W. R. Sickert. Sketch of Scheveningen, panel, 7A 13J . ;nned and dated '87. In the collection ofMr. Edward Speelman.
9
hut slight relationship to the American horn master and the
Mellon canvas, none .it .ill. Naturally there would have been no
abruptly defined break between Sickert and his first teacher ami
in fact the major part of Sickert s oeuvre, with its beautiful sense of
tonal values and finely related colour harmonies, bears evidence
of his complete absorption of this particular aspect of Whistler's
art. It would seem however that, in the light of thisnew discovery,
the year 1NN7 was a turning point in the life of the young artist
and that from then on he gradually widened his orb.
The Beach at Schei'etiiugen (see colour plate) is a completely
anonymous painting ami without the evidence of its signature
correct attribution would have been extremely difficult, if not
impossible. The arrangement of the seated figures corresponds
with the 'swag and a half of Watteau but is not echoed in the
horizon; the forms are rounded and solid, rather 111 the manner
of Bonington; the pigment, like some early Degas', is opaque
and creamy and not 'floated' on to the canvas according to the
custom of Whistler; while the light has the Impressionist clarity
though the colour is more restricted and is not laid on in 'broken
touches. The subject derives from Boudin and yet the penguin-
like shapes of the beach chairs, so amusingly juxtaposed against
the circular sun-shades and posteriors of the seated women,
suggest a formal intention far removed from the 'cosiness' of the
'father of all Images'. That Sickert, who had entered the Sladt
just six years previously, had struggled to carry this relativeh
large painting beyond the realms of a sketch is evident from the
various pentimenti. What is also evident and very unexpected i:
that there is a distinct rapport between Sickert's painting and tha:
of Manet's two canvases, the Beach at Boulogne of 1 869 (also in tht
Mellon Collection) and the one in the feu de Paume of Mine
Manet with the artist's brother seated on the sands at Bcrck-sur-
Mer of 1873. In the Beach at Scheveningen Sickert has divided hi:
picture plane 111 almost exactly the same proportions as has Manei
111 his two Plages, the figures on the sands occupying the majoi
part of the canvas with the sea ami sky in the far distance at the
top. Sickert's composition is more tightly knit and full than the
Beach at Boulogne, which is spread in a seemingly haphazard way
but in both is the importance given to the tonal shadows as part;
of the design. Sickert's seated w oman 111 the centre foreground ol
his picture is very like that of Mine. Manet at Berck-sur-Mer, ha
has also attempted to capture the effect of the heat of a sunny da)
so beautifully realised 111 both paintings by the French master and
so rarely to be essayed again by Sickert.
2. W. U . S irk it 1 . < >nc of the Schcveningen etchings.
3. W. R. Sickert. The Kurhuis <n Schcveningen, panel
1KH6. In 1 lie collection of Mr. Richard Attenborough.
1 1 ,
W . R. Sickert. The Beach at Scheveningen. Canvas, 20 24 inches, signed
ind dated '87. In the collection of Mr. and Mrs. Paul Mellon.
I do not know how closely the dunning little panel of The
Kurhuis at Scheveningen , in the collection of Mr. Richard Attcn-
borough (No. 3), is related to the already mentioned watcrcolour
of the same title. But when the oil painting came to light a few
years ago — too late to be included in mv i960 volume — it was
clear that it far more closely resembled the Cafe Concerts of
Manet than the theatre pictures of Degas. At the time the Kurhuis
seemed something of a freak, but now that it has been joined by
this recently discovered beach scene — and perhaps there are
other unknown additions still to be made— it would seem that
the unexpected shadow of Manet passed flcetingly, maybe un-
Slispectedly, across the mind and vision of the English painter at
I this period of his development. Manet w as already dangerously
ill when Sickert first went to Paris 111 [883 and, as he wrote, he
I was in the unique position of having heard Manet's voice without
ever seeing him. In contrast with the unqualified admii ition and
even adoration that Sickert was subsequently ro feel for Degas,
he became highly critical of Manet's reputed c: hil nism and
restricted 111 his appreciation of Manet's art. He thought that the
French painter was 'neither an innovator nor 111 the first rank of
the painters of the world , and in 1912 he unfairly dismissed him
as being "only .1 blond Kibcra'. Yet two years before he had
praised him: '. . . Give me by Manet a head with a bonnet, a
figure 111 a crinoline with the delicious mixture of grace and
gaucherie that touches the heart, and clings to the memory, the
eternal feminine that w e can hold on canvas 111 the sunshine of art
for years after the dear model has eluded our grasp'.
In his prolific writings and lectures Sickert never has, so far as I
am aware, admitted even the slightest debt to Manet and there is
no reason why he ,hould, his ow n art developed along totally
different lines and his real hero was generously acknowledged
and made known to all students of Ins work. Art-historians are
seldom able to resist their genealogical tendencies, probably
because there is no absolute language with which to describe or
discuss a work of art. I therefore toss my little theory into the
refined air of the art world to be taken or rejected as the reader
thinks fit. What is far more important is the publication of a
painting which will surprise many people as it certainly surpri ;ed
and excited me.
i [
Who was Solly?
Part 5: the distribution of the Collection
FRANK HERRMANN
SOME time has elapsed between the publication of the article
entitled The Sale i>/ the Berlin Collection (The Connoisseur,
September, 1967) — the fourth in the series (in the collector
Edward Solly — and this concluding article because in the
meantime the remarkable fact has come to light that a very
substantial proportion of the archives and documentation
relating to the foundation and establishment of the Royal Berlin
Museum between [819 and [830 is, in fact, still extant in East
Berlin. It had //(>; been destroyed during the List war as was
generally believed.' There are gaps; but some of them at least
are accounted tor by the documents 111 the Geheime Staatsarchiv
111 West Berlin and others 111 the Deutsches Zentralarchiv 111
Merseburg, East Germany, to w hich detailed reference has been
made in the earlier articles. 7 he survival of these archives might
well be regarded 111 the same light as if all the early documents
relating to the establishment of the London National Gallery had
been thought lost for nearly thirty years and w ere then discovered
111 a remote cellar. In any case, the partial transcription of a great
deal of additional material relating to the acquisition of the Soil)
Collection has made possible a neater rounding off of the story.
in fact it appears that Solly sold his collection of 3,000 pictures
in two parts: XNs in the first place tor some ^,500,000 and 2,1 i s
lesser paintings tor another ^130,000. The exact division is
shown 111 the table given later. This explains tor the first time
what happened to the great mass of pictures which were not
immediately required for the Berlin Royal ( iallery.
Again a little background information w ill clarify the situation.
From 1796 onwards Alms Flirt' had been actively engaged 111
setting up a central museum 111 w hich to show to the public the
cream of the royal Prussian collections of paintings, sculpture.!
coins ami antiquities scattered among a host of palaces ane
residences. Frederick William II had given his consent to the
museum project shortly before his death (in 1797) and though
his successor, Frederick William III, at first held back until the!
financial circumstances of Prussia were known to have improved,
he became increasingly enthusiastic about the idea of a museum
during his reign. Hirt campaigned vigorously, it not always
diplomatically, for a picture gallery that would demonstrate in »
truly systematic manner the history, development and dowering"
of the various schools of painting, and 111 all parts of the museum'
methodical display was to be the keynote. It was Hirt too, who
tired the enthusiasm of the intellectuals ot Berlin w ith the idea of
completing the project at an accelerated pace.
The year [815 had already seen the purchase of 157 paintingy
from the Giustiani Collection. Then the king generously agreed-
that no fewer than 400 of the most outstanding paintings from
the royal residences — principally those 111 Berlin, Charlottenburg
and Potsdam — should be transferred to the new museum.
Among them were Correggio s Leda and the Swan, eight paint-
ings In Rubens including St. Cecilia ot the Organ and nine
paintings b\ Rembrandt; also a mass of early German ami
seventeenth-century Netherlandish paintings. The large royal-
collection of eighteenth-century French paintings by Watteau
and his contemporaries remained almost undisturbed because
they were not regarded as suitable tor the new museum!-' In
view of the gaps created on the w alls of the royal residences, the
purchase ot the Solly Collection in 1X21 could not therefore have
ou urred at a more opportune moment.
1. One of Solly's last purchases, and the paint-,
ing which VCaagcn made No. I in his catalogue
of 1830 tor the now Berlin Royal Gallery, was
this unusual rendering of Cltrist at Emmaus by
the Venetian painter, Marco Mar/iale. The
tiny label at the loot of the stool on tile right
bears his signature and the date 1507. A similar
work by the same arlisl in the Accademia in
Venice is dated 1 506.
] 2
It will be remembered that in order to receive even a partial
Vance on the purchase price tor his collection (and he needed
1 e money desperately) Solly had handed over to the royal
thorities a substantial number of paintings. This transfer
obably took place as early as November, 1N19. In November,
20, Ernst Heinrich Toelken3 was instructed to compile a
finitive catalogue of the Solly collection. He had had some
■ perience of this sort ot work, for in iSis he had been made
sponsible for the successful retrieval from Paris of the Prussian
.--treasures looted by Napoleon.
We know from earlier letters in the correspondence about the
irchase of the Solly Collection that it hail been decided to bin
e collection in its entirety because those paintings not inimedi-
;ly required tor the new museum could be used tor five supple-
entary purposes: firstly, they could be used as a nucleus for
ovincial museums; secondly, they would make useful 'swaps'
r other paintings that Hirt and Schulz 1 particularly wanted from
c Berlin Gallery but for which they had insufficient funds. They
id in mind, for example, an altarpicce by Memling in the 'Mar-
ikirche' in Danzig, which had been removed by the French m
io6 and was widely acclaimed w hen exhibited in Berlin after its
coverv by Toelken in iSis. Thirdly, as we know already, the
xess paintings were to be used to till the main newly t reated
ips in the royal collection. Fourthly, it w as thought that they
ight be used as altarpieces tor churches needing them; and,
stly, there was the possibility that they might be sold in order to
isc funds tor the remaining instalments ot the purchase price
Inch still had to be paid to Solly.
Some time after 1N30, when Waagen's first printed catalogue
the contents ot the Royal Berlin Gallery was available, the
Allowing table ot distribution of the former Solly collection was
•awn up. (The notes ,;, /> and c are on the original table.)
In the
In the Royal In
Total Museum Residences Store Elsewhere
rst purchased through
e privy purse ot
.M. the King tor
10,000 Courant
Sterling) 885s 443 202 237 3
■cond purchase
am St.ite funds
iO.ooo Courant 21 1 5 233 336 1 >4'>
3000 676 S38" 1 7S3 il
,1 According to the original catalogue there were only
X60.
h Tallies with the inventories of the royal residences.
t It these three and two Liter exchanged In Solly are
included, the total tallies with the 1,788 pictures m
Sternau's catalogue of paintings put into store. [The
present museum authorities have 110 knowledge of this
Sternau catalogue. ]
Now we know that Waagen exhibited every single painting
f the 676 (second column) on the w alls ot the Royal Gallery
'hen its doors were opened to visitors. ■ From an inventory ot
830 — compiled, that is, nine years after the pictures were
:quired — ot the central furniture repository of the principal
oyal residences in Berlin one gathers that 40X Solly pictures still
Adoration of the Shepherds by the Venetian painter, Giovanni Mansueti,
pupil of Gentile Bellini. This was another subject of which Solly had
lnumerable variants.
. Four Fathers of the Church discussing the Immaculate Conception by Dosso
>ossi (Giovanni di Luteri). An upper part of the painting symbolising the
timaculate Conception is missing. Two variants of such complete paint-
lgs by this Ferrarese artist are in Dresden.
. A Ballplayer and his Page attributed to Calderari, with a view upon a
iazza with Venetian architecture. Berenson considered this to be a late
fork by Domenico Caprioli.
remained unhung, and that these were slowly distributed among
.1 number of palaces. By [837 an addendum to the same inventory
showed that only seven former Solly paintings remained unhung.6
Presumably the other 120 paintings had gone direct to various
country residences. Certainly a number had been used to fill
gaps in the large picture gallery at Sanssouci 111 Potsdam. This
was the superb summer palaee which Frederick the Great had
had built tor himself in the French manner. His father, Frederick
William I, had also been an avid collector of paintings, and was
particularly partial to the Dutch School. It is recorded that at one
lime he paid 3,856 guilders tor a selection ot Dutch Masters.
I le instruc ted his ambassador in the Hague at that tune to
View and check 47 paintings marked 111 the enclosed catalogue
from the collection ot the late Burgomaster van Huls of the
Hague'. After receiving the desired report he gave orders to bin-
pictures to a limit ot 2,000 Thaler, 'but only 1 Hitch pictures, even
though they may be rather speculative, and no Italian ones'.
'The pieces you buy for me, wrote the king, 'must be ot good
quality, though the) need not be the most valuable or expensive.
I'd rather have a lot of good paintings, than a tew very expensive
ones." Despite this preference for quantity rather than quality,
the king had Rembrandt s Rape 0/ Proserpine sent to Berlin
from one of the provincial palaces and this painting was one of
the first to go to the new museum.
It is, m fact, at Potsdam that the only original inventories of
Solly paintings have survived. The first two, labelled A and B
respectively, list two batches ot pictures received by the Court
Marshal tor the specific purpose of replacing royal pictures that
had gone to the new museum. The total number listed (538)
tallies exactly with the record 111 the archives ot the East Berlin
Museum. Some were hung straight away, but a large number
needed restoration before it was possible to display them. From
internal evidence these inventories appear to have been compiled
between 182 s, and 1 829. They were still in use in 1X77, when
occasional transfers of pictures from one palace to another are
recorded. From the introductory notes, we learn that all royal
paintings including e\-Soll\ ones, had a catalogue number 111
yellow oil paint on their stretchers and the numbers of those
pictures remaining initially in storage were preceded by a
(1erma11scr1ptcap1t.il M.; I he identification of a typical ex-Solly
painting w hich went straight on to the w alls is shown 111 No. 9.
Inventory A is the more inte resting of the two. The pictures
listed are predominantly Italian, ranging from the earliest
Florentine masters to Canaletto. But quite a number of Dutch
and Netherlandish paintings, .is well as a tew ot the Cranach
school and period, are also included. I he compilation of inven-
tory li appears to have been tackled more hastily and it is
much more slapdash. Painters are rarely identified and the
pictures are attributed to schools and followers of well-known
masters. I he proportion of Italian paintings is much smaller.
A third inventory of Solly paintings at Potsdam, said to have
been compiled by Waagen in 1832 and listing 860 paintings (443
tin the museum, 202 for the royal residences and 237 tor the
reserve- collection ot the museum) could not be found when
5. The Virgin and Child with St. Anne tiitd lour Saints by Cosimo Rossclli.
I lu- date, 1 471 , <>ii 1 lif hoi tom step at the centre of the painting, makes ii
the carlicsl dated work l>\ this Florentine master.
(■,. S.iint Barbara with a Chalice in i< Mountain Landscape by the Milanese
master, Giovanni Antonio Boltraffio (1467-1516), a pupil of Leonardo da
Vinci. The picture was commissioned in 1502 as an altarpiecc for the
church of S. Satiro in Milan, where it was slill recorded in 17V.S. Presum-
ably it was taken to the Brora Gallery in Milan during the dissolution of
the Italian monasteries between 1H05-12. Solly obtained many of bis
pictures from this source.
14
enquiries were made by the author, although it is known to have
been studied since the last war.
The reason for such a detailed discussion of these inventories
will become clearer if we now consider the ultimate fate of the
paintings owned by the Royal German family. At the end of the
first world war, after the abdication of the Kaiser, the Hohcn-
zollerns owned no fewer than 10,000 paintings" in their in-
numerable palaces and residences. Soon after the establishment
of the Weimar constitution, a commission was set up to determine
what should happen to the former imperial possessions. Most of
the fifteen odd palaces, castles, hunting lodges and large
mansions were taken over by the Prussian State. The determining
principle in the sequestration of their contents was that, if
together with the house that contained them, they formed 'an
organic, cultural entity', they were retained; if they did not, the
Hohenzollerns were permitted to remove them. By 1926, after
endless negotiations and considerable litigation, all the details
were settled. The former royal residences and their contents
became the responsibility of a newly formed museum admini-
stration, but many paintings that were handed back to the
Hohenzollern family — including a considerable proportion of
the former Solly ones, and many from the royal reserve
collections — were sold piecemeal by them to the art trade
during the late twenties and early thirties. From time to time
odd paintings of this sort re-emerge in the art market to this day.
It will be remembered that at the very inception of the new
Royal Berlin Gallery it had been decided that surplus pictures
from the Solly collection should be sent to provincial museums.
This did indeed happen and many further paintings were loaned
to ministries, embassies," the German Parliament, art schools,
hospitals, law courts, churches and even alms houses; so that
Solly's diligent collecting activities may be said to have bene-
fitted an enormous cross-section of the German population.
It has always been assumed that a considerable number of
paintings from the Solly Collection were sold by the museum
authorities in the second half of the nineteenth century, but
direct evidence of this appears to be very difficult to come by.10
What is quite certain is that as the vast number of Sollv paintings
remaining in the reserve collection of the Royal Berlin Gallery —
which subsequently, of course, became the Kaiser Friedrich
Museum — were examined more critically in the light of further
researches (particularly into the history of the Italian and Nether-
landish schools) some of the earlier vague attributions were
displaced and what had been considered rather inferior paintings
or copies turned out to be works of some importance. One of
the most interesting and recent examples of such a transmogri-
fication is the self-portrait of Nicolas Poussin (No. [488; see
No. 8) now in East Berlin. For years this was catalogued as an
old copy after the original in the Louvre, even though it was
dated 1649, and in the 1930 s it used to hang 111 the law courts in
Konigsberg. Presumably the last shadow of doubt about its
authenticity was removed when it was listed .is the original
painting in Sir Anthony Blunt s Poussin Catalogue Raisonne.
Indeed, the extent to which Solly's often hastily purchased
choice of paintings can be vindicated 1 50 years later is astonishing.
7. The Virgin adoring the Child by Lorenzo di Credi (c. 1458-1537). There
are several variants of this painting by Credi, including one in the National
Gallery (No. 648). This formerly belonged to Karl Aders, a German
merchant living in London, who may have been known to Solly.
8. This self-portrait by Nicolas Poussin, dated 1649, was for many years
regarded as a copy of a painti:ig in the Louvre. However, Solly's usual
sound judgement was vindicated when it was discovered to be an original
by Poussin. It has been listed as such in Sir Anthony Blum's rer- un-
published Catalogue Raisonne of Poussin's works.
1 5
I lis perceptive and discriminating taste, years ahead of his time
(and without any of the intellectual or scholarly equipment con-
sidered essential only a generation later) is also truly remarkable.
It is not surprising that, exhausted by the years of stress and
turmoil .is a merchant prince 111 Prussia, upon his return to
London in [821 he retired to a relatively quiet life. There is
plenty of evidence that he knew and was known to almost
everyone w ho mattered 111 the work! of art. From Waagen" we
gather that time and again Solly was able to give him intro-
ductions to the leading English collectors and artists: Samuel
Rogers. Lord Northwick's and Alexander Days names occur
within a few pages of each other. Obviously too Solly must have
been regarded as a figure of some eminence in order to have
been asked to give evidence before the Select Parliamentary
Committee enquiring into the affairs of the National Gallery in
[836. Lady Eastlake, who certainly knew that Solly's collection
was the most important element in the Royal Berlin Gallery,
[i,ud him a charmingly indirect compliment. When she and
Sir Charles paid a visit to Berlin she wrote in her journal :
'. . . Berlin altogether disappoints me exceedingly — a city of
pretension, like Petersburg - great wide spaces, in which the
buildings looked dwarfed, and those buildings, which are really
fine, disfigured by fallen plaster and discolorations and wretched
glass. But we have one attraction, which supersedes every other,
and atones for everything disagreeable; and that is the gallery of
pictures, which is enchanted ground. The most exquisite
specimens, exquisitely arranged and preserved, and seen with the
utmost comfort. Waagen went round with us yesterday, till I
was tired of a state of rapture . . . Van Eyck's "Annunciation"
(part of the Ghent picture) here, is the loveliest version of the
subject I have seen.'12
As mentioned in the last article (see The Connoisseur, Septem-
ber, 1967), it is quite clear from some of Solly s later letters
surviving in German archives that once back 111 London he had
forsaken the timber trade and had started dealing 111 works of art.
Ltlgt mentions no few er than eight sales at Stanley S, f oster s and
Sotheby's auction rooms be tween 1825 and 1837, in w hich Solly
disposed of quantities of paintings, drawings and engravings.
The posthumous sale at Christies 111 Mav, 1S47, of 42 out-
standing Italian pictures shows that Solly retained the best for
himself. Clearly this was not his entire collection at the time of
his death. In March, 1879, Miss Sarah Solly, Edward's daughter,
bequeathed to the National Gallery five paintings that had
formerly belonged to her father, and Solly's name appears as one
time owner of a number of other paintings now in the National
Gallery.13 It would seem that Solly had, at one time or other,
seen some of these (and some of the 42 sold at Christie s) in the
Brcra Gallery 111 Milan, or alternatively he may have had
detailed descriptions of them from his agent there. It was in
Milan and in Florence that paintings from all over Italy, dis-
lodged by the suppression of ecclesiastical orders particularly
between 1805 and 1808, and again 111 1X11 and 1812 were
stored. I he Brcra ( lallery w as at thai nine what Sir Philip I lendy
has described as a clearing-house for the pictures displat cd by the
dissolution ol the Italian monasteries, and Solly obviously
remained extremely interested in it as a source of potential
purchases in his favourite schools of painting even after his
return to London from Berlin.
Nothing can show more clearly how v ulnerable great works
of art are, even in our age," than the fact that the vast Solly
( 'ollcction was more or less intact up to the nine of the last war,
but that since i<;(S it has been scattered far and wide and that
main- of the most valuable paintings perished 111 a fire after the
end i'/ the war. Hitler at first refused to evacuate the contents ol
the Kaiser Friedrich Museum from the Berlin vaults in whic
they had been placed and it was only in the later stages of the w;
that the cream of the museum collection was hurriedly taken tj
saltmines in Merkers, Grasleben, Ransbach and Kaiserroda, and t
the potash mines at Schonebeck. It was only discovered whe.
the crated paintings reached the mines that many of them wer 1
too big to fit into the lifts and they had therefore to be tram
ported back to Berlin. Here they were stored, with a great mas'
of other irreplaceable museum property, in the bunkers beneat
the two gigantic anti-aircraft towers (Flakturme) built near thi I
Berlin Zoo and at Friedrichshain. The artillery bombardment c
Berlin began on 12th April, 1945. The city fell on 2nd May. Oi
5th Mav everything at Friedrichshain was still known to bj
intact and the museum authorities informed the Russian occupy
ing forces of what lay within the vaults of the Flakturme aj
Friedrichshain. The Russian commanding officer in Berlii
undertook to provide guards for it. Despite this, civilian looter!
were observed on the site and on 6th May the first floor was seen
to be on fire. A second fire a few days later demolished most o
the contents of the second and third floors. An American office
is reported to have seen the Russian guards continually throwing
unextinguished cigarette ends into the mass of loose packing
paper lying about. In this conflagration perished all the enormous
Italian altarpicces and large panels and canvases from the
fifteenth, sixteenth and seventeenth centuries that Solly had sc
painstakingly collected.1. About 420 of the world's greatest
paintings were lost in this way, as well as the bulk of the Kaiser
Friedrich Museum's immense collection of Italian sculpture and
bronzes. "■
Ok
j
■
IV- ^ J-**
J-
■ - —
9. Typical labels on the hark of a stretcher of a painting formerly in the
Solly Collection which was transferred to the Royal Prussian family. 1
Rather more than 400 ox-Solly pictures were used as replacements for a
similar number w hich the kint; had taken from the royal resiliences as a
partial nucleus for the new Berlin Museum that opened in 1830. The
upper label probably shows a code number lor one of the many royal
residences, where this picture was hung; the lower label contains a
reference to the cntrj in the relevant ledger of the royal collection in-
\ cntory, as well as the dimensions.
10. Title page of one of three partial inventories of the Solly C ollection
that have survived. All were compiled alter the 3,000 pictures had been
purchased (in two instalments) h\ the Prussian State. This inventory,
probably dating from 1829, lists those paintings not required lor the Berlin
Museum which went to the royal Prussian family. The pictures listed
stem from the tirst Solly purchase and are those which needed minimal
restoration hetore being hung.
16
1, 12. The opening pages of the 1829 inventory showing from left to
ight: (on the left hand page) the original (and later) royal collection
atalogue numbers; where the paintings were stored (columns 2 and 3);
he artist; the subject of the painting; its dimensions; whether on canvas
(,>r panel; whether with frame or without; (on the right hand page) the
I 'alace to which the picture was sent; the room in which it was hung; and
I ts number out of the total in that particular room.
It has been stated cm several occasions that some of the more
novable items were, in tact, looted, and odd examples have
turned up 111 the art market and have been restored to the
nuseum. The contents of the saltmines tell into the hands ot the
carious victorious Allies. General Patton's Third Army, for
Ixample, took Merkers and was astonished to tmd 100 tons ot
herman gold, fifteen Rembrandts, five Van Eycks, five Titians
nd three Raphaels: 202 paintings in all. They were, in the tirst
nstance, shipped to the United States, show n in various cities on
die American continent and then returned to Wiesbaden w here a
lollecting point tor captured German art treasures was estab-
lished. These were slowly sorted out and returned to former
[nuseum authorities. What betell similar treasures captured by
■ he Russians is not fully known to this day, though many ot
[hem are scattered 111 Eastern Germain . The toll ot the former
holly collection was immense. How many paintings suffered the
dubiously preferable tate ot being looted instead ot being totally
destroyed is obviously not known." But tor the enquiring
'isitor the rump ot his pictures can be seen 111 the galleries 111
Berlin Dahlem, in East Berlin, 111 the Jagdschloss Grunewald and
he Charlottenburger Schloss in West Berlin. It should be stated
hat, qualitatively, far and away the best pictures are to be found
n Berlin-Dahlem. Only 73 are listed in the current catalogue,
I nit a considerable number are in the reserve collection there.
Inevitably this series of five articles can only claim to be a briet
resume of the enormous amount ot information now known to
Npxist about Solly. The three inventories in Potsdam and the mas-
five archives in East Berlin alone are a quarry that would hand-
somely reward further detailed study. Through inquisitive and
[persistent probing in two languages and on both sides of the iron
airtain, there has also come to light, almost accidentally, a mass of
naterial relating to the formation of the Berlin museum. On first
inquiry all these scattered documents w ere invariably reported as
iestroyed or no longer extant. It is one ot the political mis-
ortunes of our time that all this material cannot be brought
ogether in its original form; but at least, now that its existence is
Blown again, it can be studied in photostat form. It is the
uithor's hope that professionally trained students of such
natters will before long turn their attention to ,ring this
material further. But in any case we now have a great deal of infor-
mation with which to answer the question that formed the title ot
this series of articles.18 At its shortest this answer is that Edward
Solly was one ot the greatest English collectors of all time.
Photographs Nos. 2 to 8 are reproduced hy courtesy of Gcmalde-
valerie, Staatliche Muscat, Bodestrasse , East Berlin; Nos. 1 and g hy
courtesy of the Gemdldegalerie , Staatliche Muscat, Berliti-Dahlati ;
Nos. 10 to 12 hy courtesy of Staatliche Schldsserund Garten, Potsdam-
Sanssouci. The author would also like to express his gratitude to Dr.
Irate Geismeier and the unknown archivist who finally tracked down
Archiv-Bestandsnummer GG-'p in the Bodestrasse, Hast Berlin ; and in
particular, to Dr. Helmut Borsch-Supati oj the I 'erwaltung der Staat-
lichen Schlosser und Garten in the Schloss
Berlin, for a most kindly initial reception and
Charlottenburg, West
continuing support.
NOTES
1 The author received repeated categoric assurances to this effect from all official
authorities.
2 For an excellent summary ot the history and content ot the former royal Prussian
(and subsequently, imperial German) collection, see 'Der Gemaldebesitz der
Brandenburgisch-Preussischen Schlosser' by Dr. Margarete Kiihn. This is one of the
contributions in Cedenkschrift Ernst CM, Deutscher Kunstvcrlag, Munchen,
Berlin, 1965. An appendix to the article consists ot a particularly valuable biblio-
graphy of relevant sources by Dr. Helmut Borsch-Supan.
3 Toelken was born in 1785 and died in i860. According to the account books in
East Berlin he became an assistant in the Royal Berlin Gallery in 1830, the year in
which it opened. Until 1835 he worked in the department ot antiquities, being
concerned with sculpture and the collection ot ancient bronzes and vases. In 1830
he became head ot the department in succession to Lewezow. From 1850-58 he
was secretary ot the Berlin Academy ot Art, and was a professor at the University
of Berlin from 1858-64 while still pursuing his duties in the museum. He was
responsible, together with Waagcn and Tieck, tor the full administration of the
Royal Gallery from 1836-39.
4 Hirt was born in 1759 and died in 1839. Ot peasant stock, he studied 111 the
universities ot Freiburg, Rottweil, Nancy and Vienna. He lived 111 Italy from
[782-93, studying further and often acting as guide to visiting German artists.
He obtained an audience with Frederick William II of Prussia to outline his
ambitious plan tor the new museum. Alter a long residence 111 Berlin he became a
professor at Jena 111 1819. Gehe1111r.it Scliulz appears to have been a court official,
much involved with the purchase ot the Solly Collection, who remained in the
museum administration. His name recurs constantly 111 the negotiations with
Solly between 1819 and 1821. He also acted as link between the politicians
(Hardenberg, Altenstein, Rother) and the art experts (Hirt, Meyer, Schinkel,
Wmkelmann and Cornelius).
' I wo tuither shadowy figures much involved with preparing the Solly collection
tor publu display deserve mention: Thcoli, the restorer, who sent in a bill lor
many months' work on paintings by Fihppmo Lippi and Francia as early as 1821
and whose name appears frequently 111 the museum account books and in Waagcn's
notebooks from 1825 onwards; and Jean Lamperi, formerly singer at the Prussian
Court, w ho, according to the records, had official charge of the Solly Collection
between 1826-29. C ertainly it was he who held all the keys, which frequently had
to be borrowed while he was on holiday! He was also responsible tor transporting
the whole collection to 66 Behrenstrasse in Berlin on 10th July, 1826. This place
appears to have been used as a special restoration and conservation studio tor all
Solly pictures. Lamperi even dealt with tire insurance! Again it was he who organ-
ised the final transport ot the collection to the new museum in Dei ember, 1N2').
" From information kindly supplied by Dr. H. Borsch-Supan.
7 The pictures numbered M 1271-1679 were all from the Solly Collection. The 'M'
stands tor Meuhlekainmer. These catalogue numbers refer to the royal inventories,
and must not be contused with the museum catalogue numbers.
s With the exception of a single volume, the entire handwritten catalogue, w hich
w as complete until 1918 and consisted ol a long series of enormous ledgers, was
burned towards the end ot the last war.
9 See, tor example. No. 10, in the second article on Solly, The Connoisseur, May, 1967.
111 Though, see the lustory ot the two panels by Pietro Lorenzetti (Nos. 5 and <>) in
the third article on Soil,, The Connoisseur, [uly, 1967.
11 II orks of An ,iud Artists in England, 1838.
12 See the first article on Solly, The Connoisseur . April, 1967.
,:l Examples both from the Solly bequest and other sources are paintings by
Crivelli (No. 739), Bertucci (No. 1051), Italian School, formerly attributed to
Raphael (No. 1052), Moretto (No. 1 165), Girolamo da Treviso (No. 623), Lorenzo
Lotto (No. 1047), Bakhuizen (No. 1050), E. de Witte (No. 1053), and Vermeer
(No. 13X3).
14 The floods in Florence last year were a tragically cogent reminder of the fact.
15 Many of these were listed in the third Solly article. The Connoisseur, |uly, 1967.
ls For further details and a list of the paintings destroyed see C hristopher Norns's
article on 'the Disaster at Flakturm Friedrichshain ; a Chronicle and list of Paint-
ings', Burlington Magazine, No. 597, Vol. XCIV. December 1952.
17 See also "Masterpieces of Sculpture losi in Berlin' by Georges S. Salmann,
The Connoisseur, September, 1967.
18 After the earlier articles in this series appeared, the author's attention .as
drawn to a number of poi traits of members of the prolific Solly family Jn-
fortunately none of them could be identified with certainty as being of Edward illy.
1 7
Norwegian furniture, 1660-1820
its relationship with English styles
E. T. JO^i
DUKlNCi the late Stuart and the Georgian periods England
frequently exported furniture, clocks and upholstery,
among other luxury goods, to European countries with which
she traded. These goods often played an important part in in-
fluencing the furniture styles of the countries concerned. Shortly
after i 700, for instance, makers of cane-seated chairs in Sweden
called themselves 'English chair-makers', and, later, leading
craftsmen 111 Holland, Germany and Denmark adopted the title
ol 'English cabinet-maker'. In Portugal there was a well-known
'Portuguese Chippendale style. This fascinating subject of
England's cultural influence has not yet been given the detailed
study which it deserves, although there is clear evidence that her
furniture exports found a market throughout Europe 111 this
period, and fully confirm I lepplewhite s statement, 111 the pre-
face to his Guide of 1788, that 'English taste and workmanship
have, of late years, been much sought for by surrounding
nations'. Hut it is doubtful whether any foreign country, with
the possible exception of Holland, had closer or more lasting
cultural links with England than those which w ere established b\
Norway.
Anglo-Norwegian trade had its roots in the Middle Ages, and
was based on Norway's vast exports of timber, a raw material
which became essential for England s economy and for her navy.
From i(V>f>, when timber was urgently required to rebuild
London after the Great Fire, the trade grew considerably, and
by iyso Norway was Britain s largest supplier of timber. As a
result, strong personal ties developed between the two countries.
A Hourishinsi Norwegian colony was established in London at
Wellclose Square, Stepney, near the great timber yards on thci
rhames, and smaller communities grew up in other English anc
Scottish ports. During their visits to, or residence in, Britain]
Norwegians developed a strong admiration for English furnitura
and furnishings, which were usually cheaper and of better;
quality than those made in Norway. And as Norway had a small
and relatively unimportant aristocracy, her wealthy merchant::
were able to influence standards of taste to a greater extent than:
was possible elsewhere in Europe.
English furniture reached Norway in two ways: either as!
officially recorded exports, or as the private possessions of in-]
dividuals. Since Norway was linked to the Danish crown until
1814, all recorded furniture sent there from England was!
registered for Denmark. These figures show a steady trade in]
chairs, cabinctware, clock-cases, looking-glasses, upholstery,
(which seems to have included upholstered furniture) and other
goods, mainly from London. From the nature of Anglo-;
Norwegian trade, however, it is evident that most of this furni-
ture went to the ports 111 southern Norway which handled the
timber trade. But official figures were concerned solely with the
furniture w hich was exported tor sale in Norway, and did not
include the greater quantity which was bought in London by
Norwegian merchants, ships' captains and visitors and taken
home for themselves or for their friends, f rom whatever source,.
Norway had a constant supply of English furniture, much of
which survives today and can be seen in museums and private
houses. Some of it is still ow ned by descendants of the original
purchasers.
T
HLtnufactuirvT
m **^ of ■
I. lit'/,,/
r\ Old Fr(uti<y • <i It >in<l PmnUnt'j <-a
i -fully . I. .. i]< <* jijkI ' van 11 1 .-.| .
* t a t i <• v «"3S r. li oo k iimyi
l. Trade card ofB. L. Lccand, found i>n the hack
of several circular mirrors of.. 1800 in Norway.
Kunstinduslriinuseet, ( >sln.
2. Walnut and oak bureau, c. 1710-40. This piece follows the English con-
temporary style closely, but it is not known whether the maker was
English or Norwegian. \'orsk Folkemuseum, Oslo.
The official trade figures, although only a part of the total,
indicate that English furniture exporters (mostly in London) had
direct connections with the Norwegian market. Some of these
exporters have been traced by Dr. Ada l'olak, who has shown
that during the hrst half of the eighteenth century a number of
clock-makers in the Stepney- Wapping area regularly exported
their signed clocks to Norway; perhaps in some instances
through an agent who travelled between Norwegian farms to
take orders, since English clocks have been found 111 central
Norway as well as in the coastal areas. The best known of these
clock-makers, John Meredith — at the Dial and Ring;, near
Ratclift Cross — had a trade card printed in both English and
Norwegian. Identification of cabinet-makers is more difficult as
they rarely labelled their furniture. Nevertheless the trade card of
( iiles Grendcy is on the back of a mirror of c. 1750 still in a farm-
house 111 southern Norway. Grendey s extensive export trade to
Spain has been recorded, but this evidence shows how much
more widespread his trade was. The trade card of B. L. Lecand,
carver, gilder and looking-glass manufacturer of Great Prescot
Street, Goodmansfields, London, has been found on several
circular mirrors in Norway, of the type fashionable in England
about 1 SOO (No. 1).
Thus for a century and a half, until, after 1X15, Norway lost
her predominant position in the timber trade with Britain,
Norwegian craftsmen were in close touch with English furniture
styles, which they copied closely (No. 2) or freely imitated, often
adapting them to local conditions and needs and adding features
of their own which sprang from their national traditions. It is
these mannerisms on Anglo-Norwegian furniture which are so
fascinating to English observers.
As the fashionable woods available 111 England — figured
walnut, mahogany, satinwood, rosewood, etc. — were too ex-
pensive for most Norwegian cabinet-makers, they nearly always
made their versions of English stvlcs in their native woods,
particularly beech, pine, birch, oak and plain walnut, which
were often painted 01 stained dark brow n to resemble mahogany.
19
4. Norwegian birch chair in Queen Anne and early Georgian style, made
between 1K50 and tyoo, thus demonstrating the continuity of this style in
Norway. Norsk Folkemiisi'iitn, Oslo.
From the nature c f those woods, the carved decoration tended to
be broader and shallower than on English pieces (No. 3). After
1760, however, with the advent of neo-classicism, Norwegian
craftsmen found that suitable cuts of lurch were strikingly
similar to satin wood in colour, texture and figure. They there-
fore used this timber extensively in the solid it was mainly
employed as a veneer in England- and continued to do so when
the Regency (or Empire) style became fashionable and English
craftsmen had turned to dark, striped woods like rosewood.
A particular English style could be found vigorously alive in
Norway long after it was outmoded in England. This was no-
tably the case with chairs, which were always the most obvious
examples of English influence. Conservatism among Norwegian
chair-makers seems to have been encouraged by the fact that
their craft was entirely separate from thai of cabinet-makers
until late in the eighteenth century. As a style persisted, it was
often adapted to meet a fresh English style by adding the up-to-
date decoration to the old forms. The early eighteenth-century
English hoop-back chair, for instance, with urn-shaped splat and
cabriole legs, enjoyed a long vogue in Norway, and even
lingered on in country areas until the late nineteenth century
(No. 4). With the coming of the Rococo, the splats were boldly
curved or pierced, and the carved ornament on cresting or fror
seat rail w as given an asymmetrical twist. Chairs of this kind ca
be seen in the Rococo Room (1750-60) in the Bymuseet, Oslc
w hile a set of chairs and a settee in the same style, painted dar
brown, and now in the Norderhov Museum, were made abov
1 760-70.
The Chippendale style of 1750-65 reached Norway later in th
century and was widely imitated (No. 5). As late as 1 7.S3 Gabric
Kielland, a merchant of Stavanger, asked friends in London t<
send him twelve second-hand chairs and a settee for his newly
furnished house at Ledaal. These pieces, which are in the Englis
rococo taste of about 1755, are still in Norway. An interestin:
Norwegian translation of Chippendale is seen in No. 6, one of
set of j\(S birch chairs by the Norwegian craftsman, Lars Gror
The incised moulding on the front seat rail and back upright is
characteristic addition to what might otherwise have been
Director design — but these chairs were made 111 17X7, a whol
generation after the publication of Chippendale's pattern book
The persistence of the early Georgian and Chippendale stvle
gave the cabriole leg a very long life on Norwegian chairs
settees and tables. It was often made 111 a distinctive way, the to]
of the leg being pegged to the seat rail of chairs en- to the frame o
tables with dowels, a method long out-of-date in Englant
(No. 4). Norwegian cabrioles also often taper quite sharply t<
thin, pointed feet, of a type unknown in England. Plain woodei
floors were the rule in Norway, whereas in England the feet hac
to be flattened, rounded or scrolled to avoid wear on the carpets
English influence on 1 )anish-Norwegian furniture was furthe
stimulated shortly after 1777, when the Royal Furniture Maga-
zine w as established in Copenhagen by the Danish governmen
to tram craftsmen in the most up-to-date techniques, and styles
I he director of this highly successful venture from 1 yS 1 to i8lz
was a Norwegian, Carsten Anker, member of a distinguishes
family and a great admirer of English taste. Under his guidance
London-trained Danish craftsmen, under a competent designer
based much of their work on the pattern books of I Iepplewhitc
and Sheraton and on the Cabinet-Makers London Booh oj Prices (o)
which there were many issues from 1793 onwards). More
mahogany was imported to make furniture 111 the English style
and there was a notable improvement in technical achicvemeni
and the quality of production. It was at this time that the leading
Danish craftsman, [ens Brotterup, took the title of 'English
cabinet- and chair-maker'. All the facilities of the Magazine, a;
well as its output of furniture, were, of course, available to
Norwegians, whose direct links with England remained as close
as ever. Thus Norway fullv absorbed the English style of tin- late
eighteenth century (No. 7). Some fine furniture of this period, in"
the f Iepplewhitc and Sheraton stvles, is in Ankers home,
Eidsvold, celebrated throughout Norway as the scene of the'
drafting of her constitution in 1 814. The house has some chairs inl
Sheraton stvle which were produced by the Royal Furniture
Magazine about 1 Soo.
The Kunstindustrimusect, Oslo, has excellent examples of
Norwegian furniture in stained beech or solid birch which
faithfully inte rpret English stvles of this period. The square-back1
type of chair associated with Sheraton is found with many"
variations, and continued to he made in Norway until well into'
the nineteenth century; at Stoic- Hvam, an ancient farmhouse'
now preserved as a museum, there are two birch chairs in this
stvle which were made locally between <. 1X20-S0. Their frames
have been coloured to mutate mahogany, and polished, while
their pine seats we re originally painted black to resemble horse-
hair. I hese chairs show skilled construction, and were probably
made by local craftsmen who travelled, as was then the cusiom,
20
>. Norwegian version in beech of a Chippendale style chair. End of l8th 6. Kirch chair in Chippendale style by Lars Ciron, Norway, 17K7. The
:entury. Kunstindustrimuseet, Oslo. incised "carving on seat rail and uprights is a Norwegian mannerism.
Kunstindustrimuseet, Oslo.
Ipetween farmhouses in their area, staying at each place until
:heir commission was completed.
I Though Anglo-Danish trade was disrupted when Denmark
oincd Napoleon in [807, the flow of English furniture to
Norway continued. The Royal Navy needed Norwegian timber
nore than ever, and the two maritime nations easily avoided
Napoleon's attempted blockade. In 1X12, the value of English
fltabinet-ware exported to Norway, in recorded trade only,
amounted to £2,123, ana" 01 looking-glasses to £392, this was a
Hponsiderable sum (at wholesale prices) m those davs tor furniture,
and the highest 111 northern Europe (where English furniture was
-till extensively exported) at that time.
\The author wishes to thank Mr. All Hoc of the Kunstindustrimuseet,
, vid Mr. C. Hopstock of the Folkentttseuin [or their valuable help 111
lie preparation of this article.
1 Photography: Nos. 1,3, and s are reproduced by courU sy 0) the Kunst-
ndustrimuseet, Oslo. Nos. 2, 4 and 7 the Norsk Folkemuseum, Oslo.
I No. 6 Dr. S. Marstrander , Trondheim.
7. Norwegian settee in the Hepplewhite style; bleached and polished
birch, partly gilded, r. 1790. Norsk Folkemuseum, Oslo.
2 I
Alfred Gilbert:
a new assessment
Part 1: the small sculptures
Tl 1 1. .u i critic of / //< Spectatot in 1882, reviewing the
Grosvenor Gallery's Summer Exhibition wrote, 'we cannot
close this notice better than by referring to .1 little piece of
sculpture, which is in reality the most delightful thing in the
Exhibition. It is called Perseus Annuls; and is by Mr. Alfred
Gilbert, .i young .n tist w ho is, we understand, studying .it Rome
and who should do great things'. 1 (No. i .)
Alfred Gilbert was at that time inst under thirty. He had
earlier studied under Boehni in London and C'avellier in Paris,
but we have Ins own statement that it was Italy and in ltal\.
Florence and Venice rather than Rome which gave him the
impetus tow ards innovations he was to make, and in w Inch he w as
imitated by the majorit) of English sculptors of his time. 1 le had
a 1 read) adopted and discarded the French naturalistic and the
Trench heroic manners, and his Perseus was inspired b\ the
LAVINIA HANDLEY-REA!
Italian Renaissance. Frederick Lcighton, President of the Roy
Academy since 1878, and the promoter of an earnest moveme
to improve the art of sculpture 111 England, commissioned
work from Gilbert after the exhibition of Perseus. This w
shown two vears later at the Royal Academy. The subject wj
Icarus, and, like Perseus, it was a statuette approximately thr
feet high (No. 2). 1 he scale 111 itself was new to England, whe
the Academic sculptors had long been accustomed to delivj
life-sized 'Ideal figures to the exhibitions and then allow thel
to be reduced mechanically to mantelpiece size tor those patron
the majority, who required something smaller. The size adopt<j
b) Gilbert gave his work a status well above that of bibelot, ail
room tor subtlet) of composition and surface treatment witho
losing the advantages of intimacy and close observation.
In England until recently sculpture had remained the me
lYrsi'iis Armi
*. Icarus.
}. Tribute to 1 1> men.
conservative of the arts. Alfred Stevens up to his death in 1X75
had had no followers outside his immediate circle of assistants.
For the other sculptors ot England there w ere only two possi-
bilities. Violent movement or complete stillness, expressed in the
most generalised form and in smooth white marble. Liveliness
and realism were known to appear in sculpture on the Continent,
but not until the late seventies had any English sculptor attempted
them. When Gilbert's statuettes were seen, the truthtul modelling
of the body, the easy grace and the careful consideration ot the
figures in the round, the surface texture expressed in the sensitive
bronze, were all seen as French characteristics. Gilbert continued
4. Eros (miniature).
5. Eros (larger version).
that atter much thought he had decided to make his Icarus
'Florentine rather than classical',' but the London public decided
that it was England s challenge to the David of Mercie.3
Following the success of Icarus, in the winter of 1884-Hs
Gilbert returned to England atter ten years of travel and study
abroad. In April he received his first commission, tor a monu-
ment to Henry Fawcett in Westminster Abbev. That summer he
sent nothing to the exhibitions, but in [886 at the Royal
Academy he showed, as was expected ot the artist who could
rival the French at their skilful naturalism, a life-size female
nude, The Enchanted Chair. It was the first and last example of its
kind in Gilbert's work. While he was technically fully com-
petent, neither subject nor scale really suited him. He never
carried the exhibited model any further and later broke it up.
At the Grosvenor Gallery the same summer Gilbert showed a
small statuette made in his Roman days which he called A
Tribute to Hymen, another of the adolescent figures, like Perseus
and Icarus, which were to become general in English sculpture in
preference to the 'voluptuousness of modern French.1 The
young girl of A Tribute to Hymen stood upon a Renaissance-type
base ornamented with stylised and symmetrical grotescjues
(No. 3). Although this base probably preceded the naturalistic-
base of Icarus in its conception, it was the forerunner of all the
elaborate semi-abstract ornament which appeared in the later
metal work. Another prophetic detail was the tribute she offered,
consisting. 111 different versions of the often repeated figure, of a
spray of some plant, or a single flower, but always accompanied
bv a minute winged Amor or Eros (No. 4).
It must here be mentioned that Gilbert's small bronzes were
all reproduced many times: not in editions, as was sometimes
done, but unnumbered and cast as occasion demanded. Gilbert
claimed that he always finished then; himself after founding.
Some he mav even have cast during the years when he was
6. The Fawcett Memorial.
23
7. The Fawcctt Memorial, detail of figures. Standing from right to left:
Fortitude, Justice and Zeal.
experimenting in the lost wax process, trials of which began in
Rome w hen he cast his first Icarus, and continued at least until
the early nineties. It is certain however that some of the same
figures were being cast for him by professional founders after
that time. Gilbert also re-modelled his more important works in
various sizes. An early marble group, The Kiss <>/ I 'ictory, m
heroic hut rather coarse style,5 reappeared in bronze reduction.
Perseus Arming and Icarus were both reduced to about half their
original height, and Perseus again to an even smaller scale. The
Tribute t<< Hymen was unaltered, but the little Eros grew from its
original two centimetres to two inches in height (No. s) and in
both versions was subsequently incorporated into larger works.
In this tr.iclition.il metamorphosis of the human into the winged
super-human, Gilbert found a satisfactory combination of
symbolism with a use for his supreme power of naturalistic
modelling. Both tins figure of Eros, whose- pose' Gilbert echoed
in that of Icarus, as though in assuming his wings he half assumed
his super-human nature, and the same concept differently
composed, as at Piccadilly ('ireus, became important symbols
for then author.
Gilbert wrote of Venice, which he had seen shortly before
leaving Italy, that it seemed to lum an 'Enchanted Island, where
fairies ami knights-errant abode in the midst of noble grandeur'.6
I le went on to indicate his own taste for the sumptuous and the
pit turcsquc, for which at that time he could hardly hope to find
an outlet, in his fane \ that the gold rings and c tips, ceremonially
cast into the water over the centuries, returned with the tide to
re-enri( h the jewelled city.
In England Gilbert must have discovered the barriers between
the aits already under assault. There was much liscussion as to
tin functions and limitations ol sculpture. I he Gothic revival,
the applied ail reforms of different kinds, interest in the extent
to which the sculpture of aiitic|uit\ had been coloured and of
varied materials, and similar interest in more recent historical
styles, usually the most richly ornamented all these elements
combined against the smooth white marble of Academic
sculpture in favour ol more texture and variation and a change
from stone to metal. In painting, Ihirnc-Joncs and ( r. F. Watts
presented the kind of world which Venice had conjured up for
8. Zeal, a restored bronze previously modified b;
another hand.
Gilbert. It was unrelated to any period or place, an eclectic am
ideal world created out of whatever elements the artist chose.
Few new monuments were admitted to Westminster Abbey
The case of the blind statesman, Henry Fawcctt, was exceptiona
and provided Gilbert with his opportunity. The authorities
insisted that the Gothic style,7 or at least one in harmony with it.
must be used. The memorial was fitted into a blind arch on the'
wall of' the ill-lit Baptistery (No. 6). Gilbert brought his whole
work to life in a shimmer of coloured metal. In mediaeval iron-
work in the Abbey there was precedent tor some degree of
polychromy, but the new ineniori.il was patinated m metallic?
colour that ranged from silver to dark liver-colour, enlivened'
with gold and enamel and studded with coral and turquoise. !|
( iilbert was doing something entirely new . I le threw ewer all the
conventions m which he had been trained and retrained himself,
partly at the Sc ience and Art Department at South Kensington
under the Professor ol metallurgy, W. ('. Roberts-Austin. They
exchanged expertise, m Gilbert's knowledge of lost-wax processes'
and Roberts-Austin's discoveries of the nature ol |apanese lam-|
mations, patinas and alloys which gave such variety to the1
metal w i irk ol that nation. "
Architecturally it must be admitted that the composition of
the Fawcctt Memorial is weak. Overall decorative effect and
individual detail, particularly in figure sculpture, remained
Gilbert's stronger points, then and later. In this ease the seven
figures of virtues Ol c upv the nit lies ol a miniature arc ade of the
same form as the outlining arch. I he- I lumanist treatment of the
figures is retained and they freely strike their poses and display
then attributes, romanticised but quite un-Gothic in their
m , \ j/' --mm
j. Roundel.
[0. The Fawcett Memorial, detail of figures.
Standing from left to right: Fortitude, Sympathy
ind Industry.
rounded naturalism (Nos. 7 and 10). Gilbert had arrived at an
approximation to an historic style which reflected his own
leanings, that or the fifteenth century in Burgundy and the Holy
Roman Empire, of Glaus Sluvter and the Vischer family, w hen
I Gothic proliferation survived 111 company with an eager
I icccptancc of classical forms newly discovered. This w as evident
:o Edmund Gosse. The Fawcett Memorial was unveiled 111
January, 1887, and a few months later Gosse wrote from
Nuremberg to Hamo Thornycroft, his friend and Gilbert's,
describing the Shrine of St. Sebald:'0 'Pure Gilbert, only
glorified and enlarged — tiers on tiers of bronze figures, all
sxquisitely finished, all moving, nothing repeated, invention,
rancy, beauty, truth 111 every line of the great composition. It
rests, for feet, on gigantic snails so wonderfully realistic, so shelly
: n the shell, so soft in the flesh, that no Japanese could do better".
|3osse's description pinpoints other enthusiasms of Gilbert's
hfcircle, the contrast of flesh with carapace or armour, and the
Lpxquisite realism of the best Japanese animal bronzes.
1 The roundel exhibited at the Royal Academy in 18S7 was
, produced at the same time and in the same spirit as the statuettes
of the Fawcett Memorial (No. o). Gobi in some form seems to
1, lave been used 111 the patination. The subject was Gilbert's in-
terpretation of a Latin tag popular with the Victorians, Post
vEquitem Sedet Atra Cura (Behind the Rider sits Dark Care). The
Kldei is not however a Roman and his trappings and armour
ire those of the Condotticri of Venice and Padua. The compli-
cated organisation of this relief 111 its concave space, and involv-
ing so many beings of different degrees of reality, is carried out
| vith absolute conviction, and the apparent relationship of the
Iplanes is a brilliant illusion. Ambivalence in style ami content
HVas to Gilbert's taste. |ust as he mingled Gothic and Renaissance
onus, he returned to the Humanist compromise between Pagan
jind Christian allegory. The male Eros, Love in its different as-
pects, and the female Nike which could be interpreted as
yictory, Fame or Peace were the immortals, occasionally trans-
nuted into angels and cherubs. Human virtues were represented
my the armoured and robed figures which became increasingly
! 'ital to the symbolism of the larger monuments in which they
ere incorporated. With the exception of the Sym} 'thy of the
:awcett Memorial, her nakedne
;ss veiled with
th briars lo. 10)
later female nudes are mostly confined to the character of Ignis
Fatuus and mermaid, leading humans, as in the roundel, towards
error and disaster, and at best lacking 111 moral fibre and solidity,
soon melting away in arabesques and abstractions of design.
The approach of the Golden [ubilee brought Gilbert three
major commissions. The great statue of the Queen for Win-
chester was to be immensely influential in English sculpture,
but the aspect of it w inch most concerns us here is Gilbert s use
of small statuettes as part of the elaborations of the throne. While
everything possible was done to enrich the portrait and its
surroundings, the statuettes were more broadly handled than
formerly (No. 1 1). The six small symbolic characters in niches at
head-height are little more than maquettcs, but were individually
reproduced. The best known of all Gilbert's small figures, ami
the one he loved best, is the I 'ictory on the orb in the Queen's
hand, fconographically traditional, the i 'ictory is in appearance a
creature really capable of flight ami almost in the act of it (No. 1 2).
'Its apparent joyousness is due to the tact that it was conceived
and executed during the very few hours of happiness 1 have
known", wrote Gilbert years later." Possibly during the busy and
successful decade after his return to England Gilbert was not so
unhappy as he afterwards believed. But he was already over-
worked, anxious about money and at odds with the committees
usually in charge of his larger commissions. The same period
gave birth to the related Eros of the Shaftesbury Memorial
fountain at Piccadilly Circus, and, on a much smaller scale, to the
second standing Eros with drooping wings in bronze and in
silver. The I 'ictory also reappeared 111 bronze, in silver and
silver-gilt, many times, with bases of semi-precious stones and
varying design; in the original size, about a foot high, ami in a
miniature version. A replica of the original was presented to the
Royal Academy in token of Gilbert's Diploma Work, which
never appeared.
The two other [ubilee commissions were for orthodox
goldsmiths" wank: a mayoral chain tor the town of Preston, and
a grand table centre or epergne to be presented to the Queen by
the officers of Her Majesty's armies. Representatives of the
citizens ot Preston asked the advice ot Leighton, as presiden: it
the Royal Academy, and ot the 'National Director of Art, S< .th
Kensington' early in 1887 just at the time ot the completion o the
25
I. Victory. The Royal Academy <>/ Arts.
II. Plaster models for figures tor Queen V
toria's Jubilee statue at Winchester. City Musei
and Art Gallery, Birmingham.
Fawcett Memorial; and it is not surprising that Gilbert was
recommended to do the work for which the citizens had
subscribed /_,Noo. In June, 1 888, .it the first congress in Liverpool
of the National Association for the Advancement ol Art and its
Application to Industry,12 Frederick Leighton in his presidential
address said that far .is England lagged behind in the held
which the congress had been called together to discuss — and he
instanced Japan, Pompeii, Medici Florence and modern France as
examples to emulate he was rejoiced to be able to sav that at that
moment the Mayor of Preston wore a chain of office, a 'beautiful
work of art, and this chain was not only designed but wrought
throughout by the sculptor who modelled the stately com-
memorative statue of the Queen at Winchester'. Leighton
intervened in 1890 when Gilbert asked permission to show the
epergne, at last Hearing completion, at the Royal Academy. I he
epergne was a miniature monument in itself, bearing figures of
Peace, Britannia and Si. George with the head of the dragon
(No. 1 he secretary of the Arm \ ( 'ommittee opposed ( lilbert's
wish, writing to say that he had been 'most troublesome', had
ignored the ( ommittee s instriu lions and had been keeping them
waiting. Leighton made his position clear in a letter to Sir
Henry Ponsonby of the ( Queen's I lousehold:'3 ' This work is one
of extraordinary originality and of brilliant genius, bin its
peculiar importance ... is that it furnishes a new departure ... in
applying to ( ioldsmithery the highest qualities of artistic design
bringing to bear as in the great days of Art, the gifts of a sc ulptor
of high order on objects of ordinary use. As one to whom
everything that concerns English Art is, bv my office, a great can
I am extremely anxious that this impulse should be given fro?
within the walls of the great School of Art, the Royal Academy)
If it was Leighton s intention to keep the Art and Crafts niovl
ment within the Academy and to emphasize the production 4
'objects of ordinary use for the very rich bv outstanding artisi.
111 preference to the simpler and more democratic aims of the ncf
Guilds, he did not succeed. Gilbert never again made anythirl
so elaborate in applied art, although he continued to prodiu
chalices, urns, seals, keys, spoons, medals and jewellery for tl
rest of his life, and was often as closely imitated among the An
and ( Irafts adherents as among the more academic sculptors.
I he St. George of the table centre raises the w hole question <i
fantastic armour. The tradition is of great age. (lilbert's artist
precursor, Peter Vischer the elder, made the famous Kin
Arthur for the Emperor's tomb at Innsbruck. Burne-Jones ha
adopted and created strange forms of armour in painting and w;
to do even more w hen, 111 1 89 j, he accoutred the entire Compan
of the Round I able for li ving's production of King Arthur i
1895; Irving and Gilbert being close friends. While this doubtlc:
had some influence on Gilbert's St. George, shown the followinj
year at the Ac ademy and central to the design of the saints of thj
Clarence Tomb, the crustacean carapace had already bee
forecast m the St. George of the epergne (No. 14). On thj
breastplate of the later figure, the miniature Eros reappears. If th
Victory is the expression ol triumphant achievement in Gilbert"}
career, the 1896 St. George illustrates the slow and labourer
2*
. St. George from the Jubilee epergne.
. St. George, detail. Sandringham Parish Church, Norfolk. Reproduced
■gracious permission of Her Majesty the Queen.
15. Tragedy and Comedy.
development of his Liter work, when he would spend weeks
over the smallest detail and w as already dominated by anxiety.
In 1 S<;2 he returned once more to the traditional nude with
Tragedy and Comedy, a bronze figure of a bo\ carrying a comic
mask, painfully sttm jj; on the leg by an insect (No. 15). In
appearance it came closer than an) other work of Gilbert to the
French bibelot; extremely clever but rather trite. Its chief
significance for its maker was autobiographical as he often
claimed such work to be, and possibly the sting came from one
of his hated committees. It was probably intended and certainly
used by Gilbert as a pendant to the Perseus of ten years earlier,
and w as his last work of the kind.
An exhibition, sponsored by the I ictorian Sonny, ,>/ small scale
Late Victorian and Edwardian Sculpture will be held in Octobei at tin-
Vine Art Society, 148 New Bond Street, Loudon II'./. Several oj the
statuettes to be shown art mentioned lure.
NOTES
1 H. (linker. Reprinted in 'Preferences in Art. I ife and I iterature', iswj. p 14s
1 I. McAllister. Alfred Gilbert, 1929, p. 63.
:i M. H. Spiclmann. 'British Sculpture and Sculptors ol roday", lyoi, p. 7S.
I H. Quilter, ibid, p. 341;.
•• The Kiss ot Victory ol 1 SSi was generally considered derivative, but critics
i ould not decide whether from the Gloria Victis ol Merck5 or the Kiss of Victory ol
Dore.
'■ I. McAllister, ibid, p. 71.
7 Evidence of |. L. Pearson, architect to Westminster Abbey, before the Royal
Commission appointed to enquire into the present want ol space for monuments
in the Abbey (1 Svo).
H Edmund Gosse 'The New Sculpture', Art Journal, is<ja
9 Evidence of this, inter ilia, R.S.A Journal, Vol. XX Will, p 690.
10 E. Charteris. 'The Life and Letters of Sir Edmund Gossc', 1931, W. Heinciiunn.
II Letter from Gilbert to the Rev. J. W. R. Brocklebank, headed Bruges, New
Year's Day, 1911. Ashmolean Museum, Oxford.
12 Report of National Association for the Advancement ol Art and its Application
to Industry, first congress at I iverpool.
13 Letter from Sir Frederick Lcighton to Sir Henr) Ponsonby. Royal Archi' .,
Windsor Castle. Add. MSS. F.4X.4. Quoted here by gracious permission of .1
Majesty the Queen.
Five centuries of English
Silver, at Garrards,
the Crown Jewellers
T
HE exhibition. Five Centuries of English Silver, which
opens at Garrards on Regent Street, London, on September
10 is, in the opinion of the firm's managing director, Mr.
R. E. Stevens, 'the most exciting exhibition we have ever
mounted, as well as our most ambitious, the value of the ex-
hibits being at least |,[m'. The importance and significance of it
can be judged by the six items pictured here. They indicate also
the manner in which the exhibits will be divided: a number of
rare and highly important loan pieces made available by the
Worshipful Companv of Goldsmiths; items of gold and silver
from Garrards' own stock: and, what is of particular interest,
since during the last two decades I he Connoisseur has con-
sistently advocated the vital necessity of encouraging the
traditional work of the contemporary British silversmitl . a
displav of the modern work of Alex Styles, Garrards resident
silver designer. The lattcr's designs and craftsmanship, for which
there is a steady demand from all parts of the world particularly
since his 'one-man' exhibitions at Garrards in 1963 and [966, not
only clearly demonstrate that he produces aesthetically pleasir
modern functional silver but it incorporates an entirely fre:
manufacturing process which gives a new 'texture' to his silvc
or, in short, a unique added decoration in twentieth-centui
terms.
Whilst the original inception of this important cxhibitio
which ends September 26, goes to Mr. Stevens, particul;
tribute goes also to his co-director, Mr. John Shearlock, Garrard
silver expert, who can claim main responsibility tor tl
administrative work of the exhibition.
In addition to the two well-known Worshipful Company (
Goldsmiths loan pieces seen here, there will be on view: tl
Arlington Tazza of [532, a complete set of 13 Apostle spool
made in 1626, the Cressener Cup of 1503, the earliest piece in tr
exhibition, and tour splendid examples of the work of Raul c
Lamerie (see below right). There will also be three items 1
nineteenth-century silver made tor the Goldsmiths' Compan
bv the original firm of Garrard.
Sideboard dish, 31 inches diameter, in the centre the .inns of the Worshipful Company of Gold!
smiths, and hclmcl ewer, 14, inches high; both in silvcr-nilt and made by Paul de Lamerie, 1741
Loaned hy the Goldsmiths' Company.
I raditionally known as Queen I lizaheth I's coronation cup: the lyj inch hi^li standing cup am
cover of 1.S.S4, t;ilt and enamelled with the arms of Sir Martin Howes who presented it to the Com
pany in 1561. The Goldsmiths' Company.
Right. Another very rare exhibit: a Ss inch high
gold goblet engraved with coat-of-arms and
monogram and an inscription in Latin, of date
eft above. The body and cover of this exceptionally rare silver tankard, 3', inches high, is engraved c. 1775, maker's mark RB possibly for Robert
/ith chinoiserie decoration; the maker's mark M A in a monogram, 1(183. Burton. Both exhibits by Garrards.
arough of Southwark, in 18 ct. yellow and
nite golds. The triangular form is the basis for
1 design of the borough's mace and also the Alex styles also designed this striking silver centrepiece dish which has a crown of richly t
ayoress's badge and chain. Designed by Alex modelled .nd cast radiating bars, in the centre the arms of the City of Coventry. On permanent 1 in
yles of Garrards. to Coventi rom the Civic Arts Trust to whom it was presented by the Coventry Boy Foundat on.
29
Baroque Art at Augsburg
WALTER DE SAGER reporting
i. rhe Archangel Michael, lirsi pari of the seventeenth century, bj an
anonymous Augsburg sculptor. In limcwotxl, ihr figures carv oil scparalc-
ly. I lie records of the Augsburg guilds do nol mention many oi the
sculptors bj name, l>ul it is known thai Gcorg Pctcl, Bernhard Strauss,
Ehrgotl Bernhard Bcndl and Johann Leonard Baur were the leading
masters at the time, all of whom emigrated to Augsburg, often against
considerable opposition by the elder guild members. Staatiirfit Museeil,
Skulpturenabteilung, Berlin-Dahlem.
AS it progressed the seventeenth century round Europe ii
crcasingly less integrated and dominated by an inevitab
phase of transition, during which one form tit rationalism \v
replaced b\ another. It was then that, for the first time, nu
became aware of the many problems which in future centuri
were to ripen into important issues coupled with a new approac
to classical art, which was to find its ultimate expression in ttt
Baroque. During the reigns of Pope Urban VIII and Alexandj
VII, men like Bernini achieved the Baroque ideal of the union \
architecture, painting and sculpture — a blending of illusionist]
light, colour and movement inviting, and involving emotional
the participation of the spectator.
From the middle of the century France succeeded Rome as tf
leading political and cultural power. But while the Baroqt
splendours of Rome and Versailles found their way to the moi
distant corners of Europe, and even across the Atlantic, tl
German Empire — split into three hundred and fifty heterogei
cons states by the tempestuous climate following the Thin
Years War — was experiencing difficulties in absorbing the fi>
impact of this movement. An exception to this, however, w.
2. Centrepiece, silver-gilt, Nereid riding a I riton, lu-iglit 34' 2 cm. (162;
1635) by Tobias Zciler. A considerable part of Augsburg H.iroipie plat
was made, according to models supplied by sculptors inspired by evampli
of antique and Italian Renaissance broii/ev Hans Jacob Hair, another gold
smith, used no less than 1616 sketches by Mattbais Kager, an imaginalh
Augsburg painter, / /n ntlltilion n/ f.'. l./.. .1111/ i'.K.A. Ilui Isiiuinii, Ham
burg.
}o
,. The Rape of the Sabines, by Johann Heinrich Schonfeld (1609-S2), con-
idered to be Germany's foremost painter at that time and spent IS years in
taly before settling in Augsburg. Worked extensively in Southern
Jermany and Austria, specialising in mythological, historic and poetic
hemes. Of his many portraits only one is still extant. Canvas, oX 5011. by
34 cm. The Hermitage , Leningrad.
. Right above. Silver-gilt ewer, by Markus Wolf ( [656-1716), the body em-
lossed with flowers, height 42- 3 cm., a typical Baroque example showing
hat Augsburg had the richest and the most varied output ofornament.il
ilate in central Europe. Badisehes Landesmuseum , Karlsruhe (formerly in the
ollection of Baron Karl von Rothschild, Frankfurt M., later in the
Jaroness James dc Rothschild Collection, London).
he Imperial Free City of Augsburg which, even during this
nost critical period when, occupied alternatively by Swedish and
mperial troops, it never ceased to vibrate to a quickening of the
ultural influences from Rome and France. When Germany w as
till so to speak the shuttlecock of foreign powers, Augburg's
elations with Europe's cultural centres — Antwerp, Amsterdam,
Maples, Paris, Prague, Venice and Vienna — remained unim-
paired.
To recreate the achievements of this Golden Age (1(120-1720)
m imaginatively conceived exhibition, entitled Augsburg
Baroque — The art of a European Citv, under the patronage tit
he International Museum Commission (UNESCO), was
ecently opened, in fluent German, by its distinguished President,
Sir Trenchard Cox, lately Director of the Victoria and Albert
vluseum. Appropriately the exhibition is housed in the noble
.. Right. Centrepiece representing St. Mauritius, assay mark MH. The
dentity of the goldsmith is in dispute: either Johann Heinrich Manlich or
lans Manhart. St. Mauritius was the patron of the 'Black Heads', the name
■pplied to an association of celibate German and native merchants living
n the Baltic; it owes its origin to the fact that the saint was a Moor. Kom-
'agttie der Schwarzen Hdttpter aus Riga, Liineburg.
<>. St. Paul the Apostle, limewood, height 1X2
cm. by Ehrgott Bernhard Bendl (1660-1738),
\\ ho, with Georg Pctel, is considered Augsburg's
foremost sculptor. He worked also in ivory,
stone and metal, winning tame also as a versatile
stuccatore. Bendl was strongly influenced by the
Austrian and Bohemian school and imparted a
fresh note to Augsburg Baroque. The German-
ische Museum, Nurnberg.
7. Madonna, silver-gilt, height 105 cm., by
Johann Kilian (1623-1679), the son of a well-
known copper engraver. As a journeyman he
spent some years in Florence and in Rome; he
is one of the few Augsburg goldsmiths who pro-
duced his own models tor his sculptured silver
pieces. The statue was miraculously saved
when the church was destroyed in the last war.
Wiirzburg, Marienkapelle, left side of the altar.
The Burger sodalit tit , Wiirzburg.
8. Ornate clock, by David Buschmann (162.A
1701); seven generations of the Buschmanj
family were renowned as Augsburg clockl
makers. This piece was originally made for I
potentate of the Ottoman Empire and cok
sequently bears Turkish numerals; richl
decorated with precious stones: 2,020 garnet?
192 amethysts, 595 turquoise, 4 topaz, I
cornelians, 8 cameos, 57 chrysolites, 3 lapis
lazuli and 53 emeralds. Height NX cm. Privatl
Collation , United States of America.
town lull, thai masterpiece erected by the great Baroque archi-
tectural virtuoso, Elias I loll.
I o Dr. Bruno Bushart, Director of the Stadtischen Kunst-
sa 111 111 lu 11 gen, Augsburg, goes the credit for tins magnificent
presentation. It took him three years to assemble the 701 rare
works of art, selected with uhumi.i1 care, to ensure that justice
would be done to Ins city, the creative centre of German Baro-
que; for Augsburg outshone many others in panning, sculpture,
ornate clock-making, drawing, engraving, book production,
music, and in the w ork of the celebrated goldsmiths. Among the
1 si lenders are: the Victoria and Albert Museum, the
British Museum, the Hermitage, the Treasury of the Kremlin,
the national museums of Amsterdam and Stoc kholm, the Kunst-
historische Museum .md the Albcrtina, man) churches and
abbeys in Germany and abroad, and a numbei of private collec-
tors 111 the United States. The scholarly catalogue, comprising
47S pages and 192 pages of illustrations, will long remain a w oi k
indispensable to students of baroque art, and to libraries and
museums.
I he exhibition demonstrates to a degree the high standards
attained, especially in the applied arts, an overt sign of the close
collaboration between artist and craftsman. Sculptors and
painters produced models and sketches for the goldsmiths.
particularly for those from whom the churches and abbeys ii|;
Southern Germany, Austria and Switzerland ordered their ex-l
ciuisitc and costly vessels, and from whom the princes at homA
and 111 other countries commissioned their magnificent plate.
As can be seen 111 the exhibition the goldsmith often en-ll
croached on the sc ulptor s premise, as lor example in the creation
ol over-lifesizc statues in hammered silver or copper, as in the
10-feet-high [upiter ordered by the Markgrave of Baden Iron:
|ohann |akob Vogelhund. I here are also a number of finch
executed small silver figures which would do justice to any
sculptor, i he extensive silver collection shown to such excellent'
advantage 111 two of the tour Prince s Chambers, adjoining the
Golden Hall (tragically destroyed 111 the last war), reveal the ex-
emplary position held by Augsburg's gold- and silversmiths. French
influence (Louis XIV and Regency) .it Inst paramount, was.
transformed and refashioned 111 numerous ways. Plate, particularly
thai made in the early eighteenth century, found its most subtle
and exuberant expre ssion 111 Augsburg. I here w as, 111 addition,
a pliant quality in their craftsmanship which e nabled the gold-
smiths to produce works 'a la mode franchise , and a la mode
anglaise', according to the whims of their patrons. I hese facets
ot Aui;sburi;'s art are strikingly shown in the present astonish-
ingly fine exhibition.
32
Art news in pictures
In Holland in the sixteenth and seventeenth centuries it was the custom, on
the occasion of a jubilee event, to make a presentation of a finely engraved
glass, a nautilus cup or a silver plaquette. To celebrate the recent Golden
Jubilee of the British Antique Dealers' Association the Dutch Association
of Antique Dealers presented the former with a fine silver-gilt plaquette.
Its design was inspired by seventeenth-century Dutch silversmiths' work
(see Frcderiks' Dutch Silver) and it was executed by Messrs. Premsela and
Hamburger. Mr. S. Nysiad, President of the Dutch Association, here pre-
sents the plaquette to Mr. de Beaumont, immediate past president of the
B.A.D.A.
Left. Among an unusual and highly valuable collection of 16 drawings of
superb quality of the nineteenth-century French School bequeathed to the
British Museum by the late Cesar Mange de Hauke, an outstanding Paris
collector, is this Nude Woman Standing (a study for I. a Navigation?) in black
chalk heightened with white on blue-grey paper, 62 ■ s 41 ' 5 cm., by Pierre
Paul Prud'hon. M. de Hauke's bequest is now on view at the Museum.
In Brief
Melbourne's new .1 rt gallery, the first stage of the Victoria Arts Centre, Australia's
nost comprehensive project to house the arts, lias been completed and is now open.
IVnnual lecture of the Furniture History Society (enquiries to the Department of
Woodwork, the Victoria & Albert Museum, London S.W.7) will be delivered
'y Mr. Clifford Musgrave: 'The Regency House ami its Furniture', iMs hours,
October 31, the Victoria cc Albert Museum.
1 — itics ot Bregcnz and Vienna in Austria have organised the exhibition 'Angelica
vauffmann and her contemporaries'; currently in Bregcnz, and subsequently 111
Vienna trom October 22 to January 6.
<oyal Courts of Justice intends to form a permanent exhibition illustrating the
l| listory of legal costume and appurtenances and would appro iatc l< ms. Enquiries
o: Mr. Julian Baughan, 1 Essex Court, Temple, London E.C 4
Dr. Malcolm Easton, University of Hull, Yorkshire, is preparing .1 catalogue
raisonnc of the work of Charles Ginncr (1878-1953) and would like to hear from
owners of Ginncr's w ork.
Ninth Swiss Art and Antique I 'ealers' Fail w ill be held 111 the Art Museum in Berne
from Ot tobcr 1 1 to 22.
National Gallery ol ( anada, Ottawa, has acquired: two items of sculpture, one a
white marble bust of Empress Josephine by the French sc ulptor Joseph Chinard
(1756-1N13) and the other a full-length DaiKer 111 w hite marble by Antonio t lanova
(1 7S7-I S22) ; an unusual painting on glass, .' •'.<. 29 (1950), by Jackson Pollock (1012-
1956) ; and a rare group of seven panels painted by Tom rhomson and members ot
the Croup of Seven. The latter were donated bv Mr. and Mrs. II K |acksoi nd
will be exhibited at the National Gallery in Ottawa, [anuary 24, to Februai 21,
[969
Biennale des antiquaires
a Paris
One of a pair of silver-inlaid pistols, 44 cm. long, signed Auberl .i Luneville c. 1720-25, originally* part ofa set of four. (Marchal, Paris.)
Bronze medallion, by Varin and dated 1645^
representing Anne of Austria and Louis XIVj
(E. Bourgey, Paris.)
I enth-century Sun^ porcelain vase, 60 cm. high
decorated in black and beige. (Nicolier, Paris.)
Left above. White marble bust of Colbert, Marquis de Seignclay (1619-83)
by Antoine Coysevox (1640-1720). (Marc Revillon, Paris.)
Pictured here in .1 selection made by The Connoisseur ol some of
the works of art which will be offered for s.iK- by more than 90
line- art dialers m the 1968 Biennale des Antiquaires which opens
to visitors at the ('rand I'alais des ('lumps Elysecs, Paris, on
September 27. The fair will be open each day from 1 100 to 2300
hours (Saturdays and Sundays from 1000 hours) and closes on
October 20.
Left, licauvais tapestry, 2 s<> m. i to in., Les Pastorales a Draperies Rouges,
al ter J. H. Huct. (Dario Boccara, Paris.)
34
35
Contributed by Adrian Bury
Above. Basil Edo. Great Black-backed Gull.
Watcrcolour 25 '. 21 inches. The Tryon Gallery.
Below. Achille Lauge. Le chemin ilu villagi
20 nj inches. Kaplan Gallery.
The Tryon Gallery
MUCH has been written about the con-
fused state of the arts but little about
those painters and sculptors whose work is
strikingly intelligible and attuned to the truths
ot nature. The Tryon Gallery (41-2 Dover
Street, W.i) endeavours to concentrate on
artists who have the unmistakable stamp of
genius. 1 begin particularly with Jonathan Ken-
worthy, still in his twenties. He is a sculptor with
profound understanding ot animal form 111
action, and his carvings in marble and wood, as
well as his bronzes, already place him among
celebrated exponents in this genre. As a painter
ol annuals and birds Axel AmuchastCgui, a
South Ann rii an, is in my opinion, unrivalled
tor draughtsmanship and colour; and it he is not
yet well known to the general public 111 Britain
he lias long been recognised the world over In
collectors and connoisseurs. Basil Edc, an
English artist, is also inspired by the beauts and
fecundity ol bird life, as the picture the Great
Black-backed Chill, reproduced here proves. The
recent exhibition at the Tryon Gallery called
Flowei Artists ol the World brought together an
international company ol painters ol rare tech-
nical power and imagination. Two conspicu-
ously notable ones are Paul |oncs, an Australian,
and Margaret Mcc. The latter was born 111
Chcsham but has lived in Brazil since 1952
where she has devoted herself to Brazilian flora.
A superb limited edition of some ol her paintings
entitled Flowers of the Brazilian Forests was pub-
lished by the Tryon ( lallcry in iy>7.
1 have sometimes reterred in these columns to
the gift that women artists possess tor painting
animals and sporting pictures generally. Two
newcomers to this field are Clara Ponsonby and
Susan Crawford who should in time take their
places in the best tradition of English sporting
art. A visit to the Tryon Gallery confirms the
lac t that there are many young artists today
working with singular skill, integrity and
idealism.
Paris Preserved
PARIS is always news, good or bad. A city ol
extremes it has had more than its fair share ol
revolutions and 'terrors', but it survived 1793
the Siege, two world wars and is still La \'ilk
Luiniere. Its present troubles, we hope, are
passing
ludgmg h\ his picture ot the Arc de Triomphcl
(Newman Galleries, 43a Duke Street, S.W.l)|
Chcca y Sanz happened to be there in the late]
eighties when Pans was going about the busi-
ness ot pleasure unimpeded by any revolution?!
ar\ mood except the harmless revolution of]
c arriage and bus w heels. The artist has set him-
self to make a complete record of the scene and
has done it uncommonly well, tor it is an in— j
genious panorama ot distant buildings with a
foreground crowded with human interest. The
period is, of course, dated by the assortment of
horse-draw n vehicles and costumes of Parisians"
wandering, perhaps rather carelessly, here and
there. Suffice it to say that to stroll about like'
that in Paris today would be to commit suicide.
Checa y Sanz is hardly known on this side of
the Channel but he einoved considerable tame
on the Continent 111 his time. A Spaniard, he1
was born 111 i860 near Castillc and died in*
France at Dax (Landes). He studied tirst in
Madrid, winning the Grand Prix de Rome in]
[884, sending his early pictures to Spam. He!
began exhibiting in Pans 111 1888 and his work at '1
the Salon des Artistes I rant; uses obtained many
medals, including the gold one at the 19001
Lxhibition I 'nircrscllc. Chcca v San/ was also an1
ac complished sculptor.
Achille Lauge
I ( ) profess a theory of painting is one thing, but
to put that theory to sincere c reative account is
another. Achille Lauge (1861-1944) comes
superficially into the I'ointilliste category, but his 1
pointillisme is subth flexible rather than mech- fl
aimal. Bom at Ar/ens in the Aude, the artist had
but a tenuous connection with Paris where he j
acquired the rudiments ol painting under
(. iabanel and I aniens. I le returned, however, in
iSNN to the Cote Vermcillc and winked out his
own destiny, l auge spent nearly the w hole ot his I
long lite at Cailhau in daily preoccupation with
light and colour. Working direct from nature,
he analysed the- eft"e< 1 ol sunlight and shadow on
landscapes, (lowers and buildings Ills division-
ism ol c olour w as a means to an end. not an end
in itself. I hat is why pictures In l auge arc
never obviously theoretii al but transc ripts ol the
scenes or objects thai remain essentially true to
nature. A good draughtsman and colourist
Above. G. P. Pannini. Soldiers and peasants in a classical capriccio. 37
inches. Richard Green.
52 !
Left. Francesco de Mura. The rape of Proserpine. 51
Gallery.
40', inches. Hazlitt
isccptihlc to every atmospheric variation,
irticularly to the heat .uu) light of the south,
s work has .111 ecstatic sense of beauty. De-
iched .is lie was from Paris, Lauge pursued his
vvn course, and would appear to have been
idifferent to tame and money, though he did
am some recognition 111 his lifetime. Ot recent
/fears, thanks to exhibitions at the Kaplan
Gallery (6 Duke Street, S.W.i), we have been
.tie to appreciate the style of this unique
taster. As Gustave Geoffrey w rote of Lauge,
Everything is tilled with sunlight, but through a
armonious prism: to an acute and discerning
ision is added the delicate ethereal quality of the
pagination'.
Unknown and Known
iT Mr. fry's gallery (yX Jermyn Street, S.W.i)
ine sometimes encounters surprises 111 the water-
olour school. Who, for instance, was W. J.
-allcott, with a river scene so reminiscent of
'eter de Whit that it could without disrespect be
ttributed to that master ■ Who again, was
amuel Solly with a waterfall and trees of such
reedom and strength that it dominates the
oomf I know nothing of C'allcott. Solly did
xhibit at the Royal Academy, from [859 to
871.
Coming to great names and personalities,
here is a David Cox's Windy Day that does not
osc by comparison with his best stormy skies
Jioodmg over country scenes. Evans (of Eton)
vas the second of tour generations of art masters
t the College, succeeding his father in 1823 and
iving at Eton in 1877. He has left many watcr-
olours ot the traditional festivals and games:
Procession of Boats, the Cricket Field, the Wall
Came, Ail Montem, etc., but his exhibit at Mr.
fry's is a study of Falmouth Castle. Edward
Duncan (1803-82) was another 'Old Society'
celebrity whose versatility, technical resource
and many 'good companions' guaranteed a long
and successful hie. Fori ( hey, Roquainc, < Guernsey
is well worth possessing. The Peter de Wint,
Bridge ( late, Chester, is .1 sparkling sketc h and the
George Haydock Dodgson ot Clare College,
Cambridge a pleasant combination ot architec-
ture and figures.
Hazlitt Gallery
ENGLAND has always been generous to
foreign artists, and three among those represented
111 the collection of seventeenth and eighteenth-
century painters at the recent Hazlitt Gallery
exhibition found patronage and hospitality here.
The Dutchman, Thomas Wyck. lived in
London lor some time and made several records
of the city before the (heat 1 ire. His picture at
No. 4 Ryder Street (S.W.i), however, is of a
Mediterranean harbour. There was Giovanni
Antonio Pellegrini with a broadly handled
Bacchanalia under Carpioni's influence. He was
invited to England by the I )uke of Manchester
and was much 111 demand as a decorator of great
mansions. Marco Ricci also received encourage-
ment in this country early in the eighteenth
century. His sombre Interior of a Prison was
probably painted in Italy. The shaft ot sunlight
piercing the gloom cleverly illuminates the
unhappy malefactors.
77/i 'J ij ' Proserpine by Franccsco'dc Mura,
a inodello lor a tapestry that hangs in the Palazzo
Reale, Naples, has something in common with
the manner ot Solimena, his master. De Mura
achieved much decorative work in Turin as well
as portraits ot the Savoy family. In his short life
Bernardo Cavallino (?l622-54), influenced by
Viccaro, Rubens and Poussin, acquired un-
doubted mastery, as the picture the I 'irgill
Annunciate shows. As realistic as Raphael a
hundred years earlier was idealistic, this simple
profile and devotional hands ot some humble
Neapolitan model is deeply moving. It was pur-
chased by the Felton Bequest for presentation to
the National Gallery of Melbourne, Victoria.
Genius with Ruins
IF Giovanni Paolo Pannini (1691-1765) had
little claim to fame as an architect, his first pro-
fession, he surely made the greatest use of his
knowledge in this respect when applied to
painting. His pictures of Roman ruins enlivened
with little figures that give them scale have an
impressive structural quality. Pannini was, in
tact, the first artist to specialise in this style and
he had many followers, the best of whom was
Hubert Robert, his pupil. Soldiers and peasants
is a capriccio ot columns, statues and a broken
frieze, and one of a pair of Panninis (Richard
Green, 36 Dover Street, W.i). An extensive
dune landscape with peasants and cottages by
that rare Dutch artist Joost de Voider (1601-61),
a Willem Claesz still-life, a Francois de Verwilt
of a musical party and a William James Salute
and the Grand Canal, Venice, are other attra ive
pictures that I saw at Mr. Green's gallery.
37
Art in the modern manner
ALASTAIR GORDON
IP-SUMMI.U is the tunc.- when the An
Schools open their doors and show the
public the work th.it has been going on amongst
the third year diploma and post-graduate stu-
dents. 1 1) tour these schools is ,1 useful exercise in
discovering what influences are about, what
budding artists arc directing their energies to-
wards, and, hopefully, spotting new talent that
contains enough creativity and intelligence to
develop. This Litter exert ise inevitably reaps only
■i few, and they stand out from their fellows with
ease.
There is enough unrest amongst students as it
is. as the demonstrations against regimes show:
to add aesthetk to pohtn.il upsets is no help to
students, and there are definite signs of them not
knowing what to do nor concentrating fully on
the problems that arise from initiating any
artistic idea. I his \ ear's hati h at the si hools I w as
able to get to see betia\ a lien/\ to contrive
something new at all costs w ithout having made
anything but a very superficial analysis of their
antecedents. There is a rush, tor instance, to pro-
duce environinenlal sculpture tli.it has the anti-
art attitudes of I >adaism. I'o try and put the clot k
back to the serious ind genuine revolution ol
half-a-century ago unnecessary, lot the re-
volution was won. I he students whose loible it
is to make these barren contemporary pranks
should go into advertising, where the scope is
enormous. In the art schools the} have a bad 111-
llucncc on others, imbuing a mob hysteria that
results in b.ullv fashioned (from the carpentry
point ol view) toys, non-functional devices and
models, happenings, and <>/)/r/^ troill'Cf that carry
no conviction either I )ada or Surrealist, and ap-
pear lo be no more than nuking a snook al
something or other revolt is too dignified a
w . u il 1 1 1 desi i ibe it .
In painting, the students are obscure and un-
convincing on the whole, talking then way out
ol a lack ol ideas by a desperate kind ol rhetoric.
At least they do not hide behind the elaborately
concocted smoke-screen ol ten years ago, w hen
students by means ol ilmk paint made si cues ol
cosmu disintegration and exploding nebulae
laid on with big brushes. Al least the present
students have a clean, open technique that is
honest. There is a division between them with
abstract the larger proportion and a clear but
uncommitted figurative ait making up the rest.
The abstract painters (or concrete art, as their
chicl influence, Mak Bill would sa\) rely on
large canvases, sometimes ol irregular shape, and
llat painted shapes, most ol them unsystematic.
Those that vveri' good wen the result ol proper
planning, between colour and lorn). II these two
arc unrelated in this kind ol squared up minimal
ait. then no sensation is possible to t he spec tatoi
I'ersonal choice is dangerous yet the only thing
possible in the circumstances, so I make no
apology lor choosing what I consider the best
two. Gordon Richardson at the Sladc, whose
sculpture 'Easily Red' I reproduced in The
Coiiiioissew lor April [967, continues as .1 post-
graduate student to make cool powerful volumes,
and spaces them in such a way that a vvonder-
tullv 1 aim inhesion results. At the Royal College
ol Art, ( Iraham liush is so intensely aware of the
atmosphere created by the presence ol a pretty
blonde in a bleakly furnished setting, that, the
spectator is irresistibly drawn into a pensive
dialogue with the situation, lie has that oddly
intriguing ability to make one (eel curious to
know w hat has happened, is happening, and will
happen. Both these artists share the quality ot a
quiet and total coll vn t ion w hich allow s them to
dispense with sham sensationalism and the
rhetorical 'aren't I a clever boy?' aggressiveness
1 il their lesser hi ethren.
1 hope that plenty of the students went to s
the Kenneth Noland exhibition at the Kasm!
gallery. Here is an American who by means I
pastel-hued horizontal stripes makes his hu
canvases things of exquisite beauty. It w ould
meaningless to describe each painting — they cl
011K be written about in general terms. Thi'
exquisitcness comes trom that need in all m1
to be spellbound by proportion and space ai
colour. A Greek temple — even a lew columl
on their own, creamy golden in the sun against)
dusty blue skv commands credence in laws th
are inescapable because they are terrestrial, ui|
vcrsal and tuneless. Now it can be argued th
anyone can pamt horizontal stripes ol varyii
widths and spacings, that any good fabric d
signer can do just as well: that just because tl
painting reproduced here is twelve teet long the
Graham Bush. Untitled. Acrylic on plywood, 7 6 feet.
no reason lor its reputation to be equally big.
hese arguments tall to the ground in lace of the
Iriginal work simply because Noland lias an
<act sense ol scale and proportion, of the inter-
:tions ot colour on the retina. In a word, his
'orks arc pleasing, which in its best sense means
lat you teel a better person alter seeing them
tan before; you teel a bodily proportion anil
! alance of the mind.
The iooth exhibition of the Grabowski gallery
still on till the end of this month. M. Grabow-
d is well known tor his support ot the lew brave
rant-garde artists ot Poland, but he has an equal
laim to lame as the introducer of many young
iritish artists: indeed of the thirty-six artists
town only eight are Polish. These eight stand
ut as the sine <//m noil ot a momentous gravity,
aim and trenchant. It is as though they had
.eeled themselves against lite as they find it.
torn ot frivolity, and created an art that is spare
ut graceful.
For the rest, one can divide them fairly equally
>etween optical art, a kind ot surrealist I'op art,
nd the hard edge variety of abstraction. It
ounds dry, and a tough course to get through,
>ut in tact there is much more of an air of gaiety
-all the tun ot the lair — it one can imagine a fair
11 the modern idiom without any brass and
rabesque. A startling use of primary colour and
n inventive use ot material is the key to this
;encral impression. To take individual works
me by one would be impossible in a short space,
'erhaps the more sculptural constructions are
he most intriguing since they have the oppor-
unity to create changing impressions according
o the viewpoint: they are devices to be with
ather than objects to be looked at. Two that
lave real quality are Anthony Benjamin's
construction ot coloured perspex and polished
^ronze that gleams like a living artefact from
science fiction, and William Tucker's interlock-
ing cylinders that are so simple and yet voluptu-
Going back to the beginnings of the modern
era, the recent exhibition at the Marlborough
gallery ol C amille Pissarro was a reminder that he
never was a minor artist. As an Impressionist he
was the equal ol the greatest, it in a less demon-
strative mould. T here is a depth ol atmospheric
perspective and an instinct to make dull mist \
greys in nature come to lite that reveals a pro-
found professionalism and as keen an eye as any
ot his contemporaries lor seeing beauty in the
most mundane scene. The famous sell portrait
done in the last year of his life shows a gentle but
penetrating pair of wise old eyes that hints at
philosophy as well as art.
Kenneth Noland. Via Sheen (1968), acrylic on
canvas, 4 ft. 10 ' in. 12 ft. 1 in. The Kasmin
Cillery.
Michael Kidner. Green (196S), acrylic, 47 ,:
inches. The Grabowski Gallery.
66 I
■mm mm-
59
Continental Dispatch
u
le pleasures of Narnisn
■
'Madame Mere*, porcr-jit ot die
-
■
RueU-Malrnaison. The empire periods
revived
2
1
-
: -
i :
2
- I 1-
;
i i.
-
r 1 1 — 2t :r Vinrie.rn ~:m -jtr >cc~'. <-' -xinb^fc
20fc-
I -
ic rras-
:
:
:
:
When France was conquered in 1X70 he and his
nothcr fled to exile in England. His military
■ducation was completed at the Royal Academy,
Woolwich, and from there he was attached to
he general staff of the British army in Central
\frica, in Zululand, where he was killed at the
ige of 23 — a tragic destiny curiously remini-
cent of that of the son of the first Emperor, le roi
k Rome, who died in exile in Austria at the age
}f2I.
Paris. Maya art of Guatemala
|.oo ITEMS have been assembled at the Grand
Palais until September 30th from all the archeo-
ogical sites of Guatemala, amongst them steles
discovered during the last few months. We have
lot yet uncovered all the highlights of this
;ivilisation which spread over a vast area and v> .is
n existence from the fifteenth century B.( '.. until
he Spanish invasion of the sixteenth century
A.D. The exhibition draws attention to the must
mportant remains of Maya art: stylized terra-
:otta statuettes, censers and portrait- vases
istonishing in the power of their expressiveness,
Dlmec vases repeating on a smaller scale the
;olossal heads found buried at La Vcnta and
rikal, stone troughs and sacrificial steles. The
Maya people did not work in metal or 111 gold;
the tools and arms discovered .ire 111 obsidian, a
;ort of petrified lava and their jewels, which are
'are, are in jade. The Mayas only discovered
5. Jade statuette of a man, fourth to seventh
century classical period. Exhibition 'Art Maya
iu Guatemala', Paris.
4. Mondrian, Composition with red, blue and
green. W. Hack Collection, Cologne. Exhibi-
tion 'Europe 1918' at Strasbourg.
gold much later. A reproduction of the Codex,
'the Wheel of Time' illustrates the precision of
their solar calendar. This is one of the mysteries
surrounding our knowledge of this people about
whom legends flourish with little basis of historic
facts.
Duisbtirg. Young German sculpture
UNTIL September 22nd the Wilhelm-Lem-
bruck museum is devoting the whole of its
temporary exhibition rooms to 1 50 signed works
of the 50 most outstanding sculptors of the young
generation in Germany. Sculpture here is dyna-
mic and spatial, using ideas and materials which
less than halt a century ago were totally foreign
to 11 -open spaces, lightweight constructions,
transparent materials (plexiglass) employ every
technical resource to make the most of light and
kinetics.
Strasbourg. Europe around 1918
THE town of Strasbourg is very conscious of its
responsibilities towards Europe. The Council of
Europe, which has its seat there, has granted its
patronage to a series of exhibitions. The first has
just opened at the museum of modern art (Muscc
de PAncicnnc Douanc) until September [5th,
'L'Europc des Arts en [918'. There are 011
show 250 paintings and sculptures offering a
panorama of aesthetics 111 a period bursting with
creative activity where face to face with Russian
Constructivism is German Expressionism, Italian
metaphysical painting, Dada and the premises of
Realism 111 France, De Stijl 111 Holland — all
the trends in plastic art which later developed
during the First World War. The works on view
date from [916-1920. This is an exhibition that
all art-lovers who wish to understand the evolu-
tion of contemporary art should study in detail.
The changes we are seeing today owe their origin
to movements and experiments which took the
world by storm exactly halt a century ago.
Paris. A glance at the June salerooms
IN spite of the social unrest neither the Hotel
Druot nor the Palais Galliera closed its doors on
bidders. The high prices seem to take into
account the possibility of devaluation later. For
this reason an Urbino dish ol not particularly
good quality although signed by Fra Xanto,
fetched 50,000 francs — bought by a dealer for .1
client — and a thirteenth century manuscript
decorated with 72 pictures was pushed to a
million francs by an American bookseller, Mr.
Kraus-Thomson, who, 111 a single bid jumped by
600,000 over the previous bid of 400,000 francs.
It is an interesting point that this 'Apocalypse'
was valued at 700,000 francs. Gerard Reitlinger,
it one reads correctly between the lines 111 Ins
work, had foreseen the phenomenon of .1 rise 111
price of manuscripts.
• — 1 111 1 u 1 nn mi
4'
For the young collector
\\ i I bin I ho las I leu years tile merits ol Victoria!
silver have begun to be more widely appreci
ated not least because of its relative cheapness
Prices have risen considerably, aided by the lift
ing of the American customs' threshold 01
duty-free entry from 1830 to anything over 101
years old. For the present though, silver in th<
Art Nouveau style from the latter end of th.
Victorian period can still be bought fairb
cheaply as can be seen in these two example
taken from the stock of N. Bloom and Son Ltd.
40 Albemarle Street, London, W.I. The dish
priced at ,£75, was made by George Lawrenci
Connell in London in 1903; it is fourteen inche
in diameter with a repousse decoration o
flowers and leaves. The vase, with a hammerei
finish and applied decoration, was made by th<
Goldsmiths and Silversmiths Company in 1900;
its height is thirteen inches and its price ,£120. i
Although excellent paperweights have been made in several countries
before and since, in general the finest and most beautiful paperweights
were those made from about the middle of the 1X40S by three glass factor-
ies in France: Baccarat, Clichy and St. Louis, l our examples here from the
slock of a specialist dealer, Alan Tillman (Antiques), 6 Halkin Arcade,
Motcomb Street, London, S.W.I, illustrate something of their variety,
sizes and the present range of prices. (Extreme left.) A rare Baccara) mauve
double Clematis weight with a blue bud all enclosed by a garland of canes
and with a starcut base. The mauve colour of this Clematis is unrecorded.
Diameter 2; inches. //>S'>. (Centre left.) A Clichy patterned millcfiori
miniature weight set with brightly coloured florcttcs and green moss
canes. Diameter 1: inches, £50. (Centre right.) A rare St. Louis crown
weight set alternately with twisted lengths ol red and green or yellow and
blue, separated by entwined latticinio threads surmounted by a group ol
red and white canes. Diameter iZ inches. /,7oo. (Extreme right.) A Bac-
idea ol the current boom in the price of paperweights can be gained from
Mr. Tillman's recollection of the auction in London this year ol three
comparable examples of a St. Louis Fuchsia weight On the 29th January,
one was sold for / J57; on the sth February, another made /A)o; whilst on
the 13th May, a third realised .£900.
I here are a number of books currently av ailable lor those interested in
learning more: 'Paperweights' by John Bedford (Casscll, lis. 6d.) pros ides
a brief illustrated introduction to the whole subject and as such comple-
ments 'Antique (ilass Paperweights from France' by Patricia K. Mc-
Cawlc) (Spink and Co., £fi) a much more lavish production which in-
cludes, besides an illustrated catalogue of the main types ot paperweights,
details of (he various canes used and of the principal varieties ol culling
employed by each factory. Mr. Tillman himself sells al /^S Ss. 'A Garland
of Weights' by the w ell-known American collector Mr. Frank Manhcim.
International
Saleroom
[. Swedish silver wine-taster of Kovsh form by Lars Mansson, Mariestad,
. 1665. Overall length 6^ inches. 4 oz. 15 dwt. ,£1,000 (Christie's).
:. Queen Anne silver covered jug by Alice Sheen, 1703. Height 11 inches.
59 oz. £4,000 (Christie's).
i. Early 18th-century Japanese two-fold screen showing an armed Dutch
nerchant ship. Each leaf 72 67 inches. £1,312 (Christie's).
J. Samuel Scott. A View of the Thames from near Westminster Bridge. 27
(6 inches. £10,500 (Christie's).
>. Giovanni Francesco Barbieri, II Guercino. .-1 Banker and his Wife seated
behind a Counter. Pen and brown ink, 9| 1 3 >. inches. £735 (Christie's).
i. Meissen centrepiece from Count Briihl's Plat de Menage modelled by
f. J. Kandler. Width 22 inches. Depth 15 inches. Height I ' ;nches. Blue
crossed swords mark. £3,570 (Christie's).
43
International
Saleroom
-. Gilded copper Persian astrolabe signed 'Ibn Muhammad Am in Muham-
mad Madhi al-Khadim al-Yazi and dated 1070 (1659 A.I).). Diameter 18*;
cm. 24.500 francs (Palais Galliera. Mes Kluims. l.aurin and Rheims)
jQl II 78 francs.
.s. Slesvig faience tureen, cover and stand decorated with flowers in blue
1770. 15,500 Danish kroner (Ante Bruun Rasmussen. Copenhagen). £1 =
17 78 kroner.
9. Carved mahogany chair made in the original 18th-century manner bv
George Strachan and Son l td. of Leeds to a design in the 'Gentleman and
C abinetmaker's Director' for a film by Yorkshire Television Ltd. com-
memorating the 250th anniversary of Thomas Chippendale's birth. £27c
(Sothebv 'si.
10. Louis XV black and gold lacquer commode with ormolu mounts and
marble top. Attributed to Antoinc Robert Gaudreau. ems- 111126
011161. 425,000 francs (Palais Galliera. Mes Adcr. Picard and Adcr). £l =
1 1 • 78 francs.
11. George III silver hones pot bv Paul Storr. IN" . 1 ; .>/ i'>dwt. ^ 1.75c
(Phillips, Son and N'cale).
International
Saleroom
12. Joseph Craw hall. Man riding horse with dog along side. On Holland, 16
18^ inches. £530 (Morrison, McChlery and Co., Glasgow).
13. E. H. Shepard. The Pooh Parly. The original pen and ink drawing from
'\\ innie-the-Pooh' by A. A. Milne, 1926. 186 289 mm. £1,200 (Sothe-
by's).
14. The Applewhaite-Ahhott colour-twist candlestick, f. 1760. Height 8
inches. £1,350 (Sothehy s).
15. Georges Braque. Hommage a J. S. Bath, 1912. Signed. 21 28 1 inches.
£115,000 (Sotheby's).
16. Lambeth Delft Royal charger with a portrait of Charles I and dated
1658. Diameter 12.', inches. £950. Lambeth charger painted with Cupid.
Diameter 12 ,: inches. £440 (Sotheby's).
17. Italian sallet made by a Milanese armourer in the second half of the 15th
century. Height 9 inches. £2,100 (Sotheby's).
18. Kashmir bronze Huddha. 9th nth century A.I). Height 7* in ics.
£1,550 (Sotheby's).
I-
Books Reviewed
What is a 'Great Interior':
I \M).MA RKS< )I I Ml \\ ORLI >'s ART:
Prehistoric and Primitive Man by Andreas
Lomniel; The Ancient World by Giovanni
( larbini ; Tin Ci assk ai Worn n by Donald E.
Strong; Tin World oi Imam by Ernst [.
Grube; Man and mi Renaissance by
Andrew Martindale; The Age 01 Baroqui by
Michael Kitson. (Paul Hamlyn. 30s. each.)
MODERN advances in book production,
and the tendency towards international
publishing in large editions, might well be mak-
ing a decisive contribution to the 'information
explosion'. The market tor serious studies on art
and culture now extends far beyond the univer-
sities and libraries, due largely to the marketing
and production efforts of publishers who com-
bine enterprise with judgement. One such is
Paul Hamlyn. whose latest series of art books
sets a standard oi value which competitors w ill
find hard to match. The series, called 'Land-
marks of the World's Art', is to consist of ten
volumes of which the first six have been re-
leased simultaueousK The aim is to cover man-
kind's entire artisti< ichievement. both 111 text
and in illustration. The contributors are all
authorities, and there is no impression of 'writ-
nig down' to a popular audience. The illustra-
tions are related to the text, most of them with
full, explanatory captions. There is a generous
spread of colour — less than halt the plates are 111
bl.uk and white — and the general level of re-
production is good.
The authors of the first two volumes have been
particularly successful in relating the story of art
n> the growth ot human intelligence and what
we now recognise as spirituality.
A primitive culture', writes I )r. Lommel.
'often incubates the basic ideas which the mature
culture then brings to fruition. Art illustrates
this process." Professor Garbini prefaces his
commentary with a warning against applying
aesthetic judgements to the art of the distant
past: 'Aesthetic considerations were unknown to
early societies. 'In Greece, tor example, there was
no separate word tor art.) To the Egyptian or
Sumcri.m, sculpture has a recognisable practical
use 111 worshipping gods, celebrating victories or
decorating a palace or tomb. A separate concept
<>t beauty would have seemed . . . irrelevant.1 I )r.
Strong, ot the British Museum, applies similar
Mr Martindale's introductory ess.i\ on the
Rcnalssaiii e disc usses the dual standards In whit h
we tend to judge art ot the period: 'It is possi-
ble that the concept ot "Renaissance" is a hin-
. . .
work is measured bv the extent to which it
looks classical or antique'. Mr. Michael Kitson's
book brings the series into the eighteenth cen-
tury and contains some of the most sumptuous
plates; but the illustration chosen as 'almost a
microcosm ot the Rococo' is a small chalk
drawing by Watteau of a scashcll: 'the irregular
S-curvc, the fronds and spikes, the asymmetry,
the sensation of growth and the fasc ination with
the natural world and the exotic'. It is for such
insights, as well as tor its physical impact, that
the series deserves widespread attention. — I ).T.
This series has been completed by the following
titles since received: Tiff. Eakiv Christian
and Byzantine World by lean Lassus; Tm
Orilntai Worid by Icaninc Auboyer and
Dr. Roger Gocpper ; Tin Midii\ai Worid by-
Peter Kidson: Tin Modi rn Worn i> by Norbcrt
Lynton.
GREAT INTERIORS: Edited In Ian
(Weidenfeld and Nicolson. jQti f>s.)
A BOOK on this theme poses at once a whole-
series of questions. 'Great' is often the antithesis
of small, but 111 this context size can hardly be the
criterion. It 'great' is taken to mean 'ot surpassing
excellence", little gems like the Amahenburg
would surelv quality, and Chambers's minuscule
'casino', the Marino at Clontarf, and at least the
breakfast room at Sir lohn Soane's house. (But
of these three examples, cited almost at random,
only the last appears in this book.) 'Interior' is
still more ambiguous. Are interiors ot public
buildings to be included '■ And it not, and the
term is to be limited to houses, does it refer to the
whole of the inside, or only to particular rooms?
The editor. Mr. Ian Grant, has been content
to ride his contributors on an easy rem. while the
choice ot plates displays .1 latitude which is al-
most bewildering. There are. it is true, no church
interiors, no railway stations and no public
lavatories, but otherwise vers little has been
omitted. There are Lloyd's Register ot Shipping,
a C lumber ot ( ommcrcc and the halls ot two ot
the City Livery companies; a Town Council
room, a Librarian's office and a ballroom at
Government House: a College dining room and
a University reception hall: a couple ot theatres,
a cinema and five restaurants: a picture gallery
and the headquarters of the Royal Institute ol
British Architects; a private swimming bath and
no less than three bathrooms ; three rooms aboard
ship, two royal railway carriages, a Bond Street
shop, a factory, a grotto and a whole galaxy ot
staircases. It will be evident, therefore, that
photographically this book is a potpourri. Some
oi these undomcstic interiors undoubtedly
qualify as great' and many are very pleasurable.
The grand saloon ot the Mississippi steamer, ot
about 1855, provides one ot the biggest and mo
unexpected delights of the book.
The majority of the photographs are by Ms
Edw in Smith, so their high quality, neatly analv
sed by Mr. Cecil Beaton in his preface, goes a
most without saying. But to what do they ad
up: To nothing very coherent, I am afraid. Thr ;
book could have been so much better if thi
plates had been properly correlated with the tex ■
while the absence of any index ensures that it wi
be of little value for reference. It is really extra
ordinary to tmd no illustrations ot many majcr
examples cited by the various contributor?
whereas something like half the plates, although
well captioned, are not otherwise referred to a>
all.
It is a pity, because all the essays are wortk
reading. The starting date is 1650; the first tiff
vears are treated by Mr. Ralph Dutton, and th
eighteenth century is mainly shared by Mrs
Helena Hay ward and Mr. Terence Davis. For al
these the problem w as embarras </<■ richesse; the >
all include some splendid examples, yet there an 3
startling omissions. Mr. Peter Fleetwood-; 1
Hesketh (Romantic Revival. 1 790-1 S40), equally
hard pressed, makes the mistake of trying t(? \
mention everybody: the outcome is a study w »i
good deal less enjoyable than Mr. Dcnys Hin-j
ton's on the High Victorian period. He named
few architects and still fewer buildings, but witK
apt generalisations captures the ambience ot hin -
period skilfully and at times wittily. His con-? 1
tribution, and the two which follow it, by Mr:
Ashley Barker (Fin dc Siecle, 1**0-1920) and Mr
Robert Furneaux Jordan (1920-1960). are in my!
view the best, despite some overlapping niducec
by the latter starting at 1*51. Mr. Barker rc-o 1
cognises that he is dealing with a period ot dc-l
clinc, in which, as still more markedly todayj
opportunities tor rapid travel generated a rest-« I
lessness that was usually mimical to the creation >l
of great rooms in any private sense. Mr. Jordan,
on the other hand, is able to show w hy an un- *
compromisingly modern building devoid ol' J
decoration, like Philip |ohnson's own house at1
New Canaan, Connecticut, can. however im-c v
probably, qualify as a 'great interior":
'The room's steel outline encloses a most carc-i 1
till series ot proportions. All the rest is glass, I
through w hich can be seen the spring green, 1' '
autumn red or snow-clad North American* 1
foliage. 1 lere is the full exploitation of tech--
niqucs built-in services, double-glazing,
welded steel, air conditioning and all 111 the
service of art. This is the marriage with
nature no less than Frank Lloyd Wright's 1
'organic architec ture' . . . A Japanese may well
understand this kind of interior better than aij
European. It is as rarificd as it is beautiful. It is
stark poetrv, but poetry nevertheless.'
46
New from
Phaidan
When one has seen a Philip Johnson house — and
lis own is not unique in his oeuvre — one knows
hat this analysis is true. There is only one draw-
lack. No less than the palace rooms of the
ightecnth century such rooms are very difficult
o inhabit, because they arc so demanding: one
nas to live up to them all the time. And some ol
is, in our living rooms at least, like a bit ot a mess.
-A.C-T.
SLAMIC ARCHITECTURE AND ITS
! DECORATION A.D. 800-1500: By I )erek
Hill and Olcg Grabar. (Faber and Faber.
[ £8 8s.)
lEVIDENCE of the widespread interest in the
I irchitectural forms and decorative elements ol
slamic monuments is provided by the fact that
[ t has proved worthwhile to reprint Islamic
Architecture and its Decoration only three years
J ifter its initial appearance. The buildings dis-
I ussed and lavishly illustrated in this book belong
In the main to the area centred 011 Iran and, is
I ndicated in the title, are confined to the early
[centuries <>t Islamic development. While some
fire readily accessible to those with sufficient time
! ind money, many others are difficult to visit, and
It is a boon indeed to have a record ol these
[wildings in so convenient a format.
This work is an unusual one, tor, wink mosl
erious studies ot an art form consist of a lengthy
text, illuminated by sundry illustrations, Pro-
essor Graber initiates his discussion by modestly
[rating that 'the value of this volume lies in its
plates'. Professor Graber has confined himself to
[1 mere 70 pages of text; covering 700 years ol
I irchitectural development, this is all too tantaliz-
1 ugly brief.
\ Mr. Hill, who has taken the majority of the
•photographs, is a painter, and he is primarily
Interested 111 the 'decoration in architecture
necessary to bring to life a blank wall: also the
(proportion ot decoration needed on the given
blank space to ensure the maximum impact":
P his attitude is consistently reflected in his own
photographs. But, while it can be argued that an
r asel painting, and even a fresco, is an entity in
tself, it is debatable whether elements of
Irchitectural decoration should be divorced from
1 he building tor which they were created: this is
veil illustrated by the great Ghurid Minaret of
4am in Central Afghanistan (alas, thought worthy
'if only two general views of poor quality in this
hook), which achieves its tremendous impact
Hirough the contrast between the vertical thrust
>f the tapering column and the broad and heavy
[lorizontal bands of decoration. Only three de-
ail views are given of the shrine of Khwajah
Abu N asr at Balkh (tigs. 164-6) — and no record
|>f the admittedly rather ruined main structure.
■\s a result it is not possible to study this fluted
tome in conjunction with the other two at
Samarkand and Herat, of which, fortunately,
idequate general views are included.
A photograph will give a useful record of a
'aiming or of an objet d'art, but it can only
pture a single aspect of a building or its decora-
ion. To provide an adequate architectural re-
ord a simple plan, and if possible elevations as
well, should accompany the photographs. Un-
fortunately these are entirely omitted from
Islamic Architecture ami its Decoration. Ideally the
photographs should have been printed one to a
page, for the juxta-positioning ot views taken
from different angles (for instance, tigs. 261-3)
often leaves the eye reeling: and again where the
internal view of a dome is placed below photo-
graphs of the walls (figs. 12X-0), or where a long
view of a sarcophagus tops two vertical elements
(tigs. 34-6), the effect is baffling.
In the first edition the quality of the plates was
not infrequently disappointing; in the second the
standard is considerably lower and there are a
number ot reproductions which entirely tail to
give a worthwhile impression ol the building
illustrated. The use of such interior blocks is
doubly unfortunate when we have been told by
the authors that the value of this work 'lies 111 its
plates'.
However, while one may be critical about
details of layout and the like, and while the
brevity of the text and the lack of plans leave
one hungrily asking tor more, nonetheless all
those interested in Islamic architecture owe a
debt ot' gratitude to Mr. I lill and Professor
Grabar lor presenting this mass ol material 111 so
small .1 c ompass. — G.H.
GESTOCHENE BILDER, Ghavii;iujn(.i:n
Al l I H 1 1 I si I II N Goi DSCHMIE-DEARBKITEN I >l II
Spatcotik: B\ |ohann Michael frit/. (Boh-
lau Vcrlag (Beiheft dcr Bonner |ahrbucher
Vol. 20), Koln.)
T HIS most scholarly work consists ol a detailed
examination divided by region of the beginnings
ot the art ot engraving on silver and copper in
the fow Countries, Germany am) the Central
European area ot Teutonic culture, including
Bohemia and Poland, ot a catalogue raisonne ot
881 examples ol engraved mctalwork of the late
Gothic period and, finally, of a careful study of the
techniques used by the goldsmiths in the decora-
tion of silver. The 367 illustrations which a< com-
pany the text are lor the most part reproduced
tor the first time; many are of actual size and
they provide a most comprehensive survey ol
the whole subject.
Unlike many art historians Dr. frit/ has not
been content to base his study on style-criticism :
he has spared no pains to familiarise himsell w ith
the methods followed in the workshop and his
conclusions are evidently based on personal ex-
perience of the goldsmiths' practice, which differs
little today from 1l1.1t ot five centuries ago. The
romantic approac hot the last century to the study
ot applied art led to the mistaken assumption
thai the attitude ol the mediaeval artist corres-
ponded to thai of his nineteenth-century succes-
sor. Originality was not, 111 fact, sought alter
111 the Middle Ages and lull use was made ol
every method known of reducing the labour
involved in applying engraved decoration to
precious metal. Dr. Fritz has established that late
mediaeval ornament was derived from patterns
and that the earliest patterns consisted of pulls
taken by engravers from work they had execut-
ed. I hus the whole art ol engraving goes back in
its origin • 'he fifteenth-century goldsmiths and
ITALIAN PICTURES OF
THE RENAISSANCE
Central and North Italian Schools
Bernard Berenson. Text volume: 401) pages.
Two plate volumes: 1,984 illustrations.
10ix7iin. November 1 30s the set
THE ENGRAVED GEMS OF
THE GREEKS AND THE
ETRUSCANS
Gisela M. A. Richter. The first comprehensive
study of engraved gems since 1900. Detailed
catalogue of 877 gems. 250 pp. text. 1,500
illustrations of the gems and their enlarged
impressions. 2 colour plates. 13 • 9A in.
October £18
THE PAINTINGS OF
REMBRANDT
This new edition of Abraham Bred i us'
famous catalogue has been revised by Dr. II.
Gerson. 612 pp., 608 illustrations, 56
reference illustrations. 1 OA 11 in.
October 95s
PAINTINGS FROM THE
SAMUEL H. KRESS
COLLECTION
Italian Schools: 15th to 16th Centur)
Fern Rusk Shapley. Reproductions of 430
Renaissance pictures. 228 pp. text, 445
illustrations (13 in colour). \\\ ■ 8J in.
November 140s
ROCOCO ARCHITECTURE
IN SOUTHERN GERMANY
Henry-Russell Hitchcock. Comprehensive
study of 18th-century churches and
monasteries in Bavaria and Switzerland.
420 pp., 219 plates, 44 plans and elevations.
U in.
November 95s
FRENCH PAINTING IN
THE TIME OF JEAN DE
BERRY: THE BOUCICAUT
MASTER
text, 497 plates (14 in
November 85s
Millard Meiss. SO pp
colour). I 2 9 m
Phaidon Press Ltd
5 Cromwell Place
London SW7
r
their need to record designs they had executed
and then wish to exploit .1 useful source ol profit
by selling them .is patterns to other goldsmiths.
Far from deriving from the art <>i painting, the
earliest engravings can be recognised from their
sin. ill si/c .n nl i h.ir.u tcristic shapes as produc-
tions ol the goldsmiths' art. The early engraving
performed, therefore, a (unction similar to the
lead models and plaques that were east from box-
wood or honcstonc patterns 111 Nuremberg and
then sold to working goldsmiths throughout
western and central Europe, not excluding
England. |ust as in the sixteenth century, when
i ast and embossed ornament was in fashion, the
goldsmiths' workshops must have carried large
collections ol lead patterns ol all kinds, so 111 the
fifteenth century, when engraved ornament was
more usual, rubbings or pulls from engraved
designs were collected and used b\ pressing
through on to a prepared ground. The process ol
copying from such engraved patterns quickly
destroyed them and hitherto no examples have
been discovered, but I )r. Fritz is able to publish
.1 print m the [agellon Library, ( racow, taken
from an engraved arm ol a cross which has
evidently been made as a record ot the design
and, presumably, as a sample for future c opying.
It owes its survival to the fact that it has never
been used tor this purpose.
Dr. Fritz's book, which has been published
with the aid of funds provided by the Lmid-
schaftsverband of the Rhincland, is one of the most
original studies of the craft of the goldsmith to
appear for many years and it should be present
m every library with any pretensions to cover
the subjee t. 11.11
THE A RT OF FU RNITU RE : By ( )le Wan-
schcr. (George Allen c\ Unwin. //>.)
( >1 I WANSCHER is doubly, distinguished: he
is Professor at the Renal Academy of Fine Arts,
( openhagen, and author of numerous books and
articles on furniture, and he is also a furniture
designer with a world-wide reputation. As a
result, Ins latest book is a scholarly studv of the'
environineiital fai tors c conditioning the develop-
ment o| furniture seen through the eyes ol a
practical and widcK -travelled designer who is
particularly alert both to constructional tcch-
nnjiics and aesthe tic considerations. I he story,
illustrated by numerous photographs and inn
scale drawings, goes from earliest tunes to the
present (though it is a pity that modesty has
apparently deterred the author from showing us
some ol his own work). The diverse influences
which have moulded European, American and
Asiatic furniture are- concisely described, with
emphasis <>n the extraordinary vitality ol some
forms, notably the folding stool which, alike in
Egypt, Rome and ( Ihina has been established as
the scat ol dignity, continuing 111 the faldstool ol
mediaeval churchmen and shown, as the final
illustration ol the book , in Napoleon's held chair,
lis form still actively influences modern lurni-
turc. Stiess is also laid on the great debt owed b\
European furniture to China; nowhere is tins
truer than ot late Stuart and ( Icorgian England.
I Ins orie ntal influence offer; a rich field I01
research, especially in its earliei manifestations
in Run ipe h 0111 1 500 to 1650
A special compliment is paid to English
cabinet-makers ot the 'golden age' for their
common-sense approach to pieces ot furniture
which at their best have (an echo of' Siegfried
Gicdion) 'an air ot timelessness about them'.
Altogether a fascinating book, not least tor the
way 111 which the text and illustrations show
how outstanding present-dav pieces, even those
using the most sophisticated materials of the
modern movement, continue some of the oldest
known forms.
One small point: English duties on imported
(colonial) timbers were lifted, not in 1713, but in
1721, which is thus the operative date tor the
introduction ot mahogany. — E.T.|.
GREEK COINS AND CITIES: Bv Norman
I )avis. (Spink c\ Son Ltd. jQ} 3s.)
GREEK coins are a unique example of art and
history 111 miniature, providing us with an in-
valuable commentary on all aspec ts of the ancient
world.
Mr. Davis, first Vice-President of the Seattle
Art Museum, was stimulated by a 'romantic'
interest to acquire and subsequently to study
coins a classic progression. 'The mind's eve",
he writes, 'roves back to re-erect the temples, to
people the rums of the cities from which these
small "hostages to fortune" have come' (p. 11).
I lie- 110 coins, illustrated at life-size and partly
by magnificent enlargements ot some types, are
from the author's interesting collection which,
together w ith a display ol Greek, Hellenistic , and
Rtruscan art, is on permanent exhibition at the
Museum.
The present book is, 111 effect, a lavishly pro-
duced cssav comparable with (irekiska Mynl 111
Koiiiui\! ( UistaJ I l . I </••// s Samling which set the
pattern for this type ol publication. In his intro-
duction Mr. Davis gives, not inappropriately, a
straightforward account of mint practice and
germane topics (pp. 21-5) and succeeds in bridg-
ing some part of the gap between the profession-
al numismatist and the layman interested in this
genre ot art. Dr. C. M. Kraav has written the
historical sketch and framework against which
tin coins may be studied. I lie coins themselves
are arranged geographic ally eat h w ith a briet but
informative commentary. I he 'musts' ol a
representative collection are nearly all present
'owls', a 'colt', and a 'turtle' from Alliens.
Corinth, and Aegina respectively, a Syraeusan
decadrachm, staters ol Croesus and I'lnlip II, a
I ysimachiail Alexander, a tine series ol Royal
portrait coins ... to mention only a lew exam-
ples from this widely chosen selection. The rarer
specimens carry a number ol interesting types,
among them a representation ol Ajax, son ol
Oileus, a two headed type possibly ol the
I >iosc nil, and a lealisiic 'portrait' ol an old man,
I I 01 11 t he minis ol Opuntian I oe I is, 1st r lis, and
( v/u us.
There is a short bibliography, index ol type
and emblems, a glossary ol numismatic terms,
and a list ol c e mis illustrated.
I he laic ( harlcs Scltman, a most sensitive
eiiiie, wrote in his Masterpieces oj (inch Coinage
'those who lust see a line ( ircek e 0111 111 the- metal,
01 liiniing the' pages ol a book meet good
pic tines ol ( Ireek 1 oillS foi the lust time, ate apt
10 enjoy a somewhat breath-taking experience. .!
The reader interested in Greek art, or indee
in art in miniature, but not primarily a numi
matist, will find this a stimulating introduction '
the subject and, through the medium of u
beautifully produced illustrations, will undoub
edly share some ol the same exhilaration. — J.I
REVOLVING ARMS: By A. W. F. Taylerso
(Herbert Jenkins Ltd. 40s.)
LOR the first of their promising new Arms at
Armour Series, Herbert Jenkins have chosen ;
expert w hose authority can hardly be challenge
and w ho has already secured his reputation wil
The Revolver 1865-88. In this second valuab'
book he extends his field, although not perhaj^
as widely as the title suggests, to describe man
ol the mechanically rotated ammunition fecej
used 111 hand firearms during the past thre
centuries. T he explicit chapter headings deno
milestones in revolver history: Origins; Pe
e ussion Revolvers: Metallic Cartridges and tf
Solid-trained Revolver; Self-extracting Revoh
ers . Revolver Locks; Unsuccessful Designs, ant
each chapter includes much that is not easy t
linil elsewhere. Readers who are familiar wit
Mr. Taylerson's
style
ill
surprised at the mass of information that he h.
packed into this short book which has a
. i
excellent index but, alas, no bibliography. Th
thirty-two plates illustrate patent drawing
sales catalogue entries, and more than a hundre
firearms, the vast majority ot which wer
photographed 111 the Lower Armouries' Stud
Collection.- W.R.
BOOKS RECEIVED
(The inclusion ol a book ill this list does lie
preclude us from publishing a review later.)
Modern Private Gardens: B\ Susan an
Geoffrey lellieoc. I ondon: Abclard-Schumarf
Somerset Clockmakcrs : li\ | lx Hell
chambers. London: Antiquarian Horologies.
Society. 1 ss. plus is. 6d. postage.
William Blake: By Raymond I ister. I ondon
( .. [it'll & Sons I td. 35s.
Antique Glass Paperweights: By Patricia K
Me (. iw le\ . 1 ondon : Spink c\ Son Ltd. £6. .
Homespun Ceramics: By Arlene and Paul II
Greaser: Published by the- authors from 263!"
rilghman Street. Allenton, P. A. [8104. $v95
Art of the World Series, North America
li\ W. I label land, and Archaic Greece : B\
I Homann-Wcdeking, translated by J. R
Foster. 1 ondon: Methuen. 63s. each.
( collectors' ( Ihoice of Porcelain and Faience:
B\ Ruth Herges. A. S. Haines and Co., Inc..
Cranbury, New |crscy. I ondon: Thomas
Yoseloll 1 td. 1 >istriblltcd Iw W. I I. Allen and
( o. /, S Ss.
Traditions in Japanese Design Vol. I.
Flowers & Birds Motifs: By II Arakwa
I ondon : Ward 1 oe k c\ ( .0. I tel. 80s.
Edvard Munch: H\ Gosta Svcnaeus ( W K
( llccrup, I unci. Sw eden. 40 :-
I*
The American Connoisseur
The age of empire and
rebellion: the New Kingdom in
Boston
EDWARD L. B. TERRACE
rHE New Kingdom, unlike the OKI and Middle Kingdoms
and the late Period, yielded relatively little to the Boston
Museum of Fine Arts' excavations in Egypt. With the exception
)f a few objects, some of which will he mentioned below, the
Museum's collections or the art of the [8th to 22nd Dynasties
tome from its early contributions to the Egypt Exploration
Fund, gifts, and purchases. Gifts have been munificent and are
[ nost splendidly represented by a group of objects from the tomb
nf Tuthmosis IV, excavated at Thebes by Theodore M. Davis of
I Newport, Rhode Island. Davis and the Cairo Museum divided
he finds, and later Davis presented his share to the Boston and
Mew York Museums. Included in the original gift of Egyptian
intiquities by C. Glanville Way in 1S72 were main objects from
he New Kingdom. Important gifts and loans came to the
Vluseum from the collection of the Lite Horace L. Mayer. The
:| ?roudest monument to his memory is the royal jewel of the early
*9th Dynasty which illustrates the cover of this issue. Miss Mary
Ames of Boston made possible, by purchase from the collection
! )f foseph Lindon Smith, a number of interesting pieces of this
period, including the head of a god w ith the features of Tutank-
[ lamen (No. 1 2).
From its contributions to the Egvpt Exploration Fund and its
j.uccessor the Egypt Exploration Society, the Museum received a
'lumber of excavated monuments, including material from the
[Egypt Exploration Society's excavations at Amai n. 1. In the iS ^o's
ohn Lowell of Boston, accompanied bv the French painter
(Charles Gleyre, travelled through Egypt. Gleyre made interesting
paintings of and Lowell penetrating observations 011 w hat they
haw. Inspired with scientific curiosity and imbued with a deep
■faith in its relevance to the nineteenth-century American ideal of
I progress, he collected specimens of Egyptian art somewhat in the
[way Ticknor collected modern languages or Audubon birds.
Lowell's collecting turned to the monumental. A number of
: granite colossi which he had shipped to Boston once adorned his
■family's garden. The family presented these to the Museum 111
) 1875. Encountering experiences of great hardship, culminating in
shipwreck in the Red Sea Lowell died of fever 111 India. In his w ill
he established a trust for the support of educational enterprises in
Boston which, amongst a myriad sponsorship, has included the
unique technique of modern communication : television. With
lithe establishment of the Lowell Institute-sponsored education.il
I television station in Boston, art, and Egyptian ait as ' ell, finally
■ received a means of mass communication.
1. Reverse of the gold jewel illustrated on the cover of this issue. The
pendant is the young sun-god who is born from a lotus flower. 1 '\
Ramesside, about 1300 B.C. Height of pendant, 7 2 cm. Horace L. I\ yer
Collection.
r9
( 'olour pliiit i . Faience shawabti ol I uthmosis IV from his tomb al I hebes.
Height [8-5 cm. 03.1098. (lift of Theodore M. Davis.
Colour />/.;/< 2. Gold lion with mane of blue glass fused in gold cloissons.
I cngth 5 tin. 62.1193. Gift of Horace L. Mayer.
Colour plate f. Painted red-ware pot and lid, with sculptured ibex and
heifer. Heigh) 74-5 cm. 64.9. J. II. and E. A. Payne Fund.
Colour plate ■/. Mottled green stone head of a goddess with the features of
(^ueen I i y. lota I height 19 cm. 2 1 .2H02. Gift ol George Andrew Reisner.
50
The survival ot countless monuments of the New Kingdom
as given posterity a not undue image ot its importance in
■jncient Egyptian history. The Pharaohs of the [8th and lyth
I dynasties expanded Egypt's power widely beyond its borders
I nd it is quite proper to use the old fashioned designation 'New
Itmpire' for the period (1570-108S B.C.). It w as indeed an
I impire which at various times included domination over Syria
I md the Levantine countries, and the establishment ot spheres
I )f influence, arranged by treaty with other powers 111 the
Middle East. Nubia was completely subjugated at this time, and at
I 3ebcl Barkal, almost at the Fourth Cataract, there was a great
I ;emple of the state god Amen-Re (excavated by Reisncr tor the
f Museum). Thebes came into its own as the greatest capital the
world had known. Its temples and palaces glittered with the
wealth brought by tribute, booty and economic expansion. The
I combs and mortuary temples on the West Hank w ere decorated
I ay the most accomplished artists and artisans. The Amarna
leresy (1372-1355 B.C.) only briefly disturbed Theban suprem-
I icy. During the Ramesside period (1342-10S5 B.C.) the capital
noved back and forth between the Delta and Thebes. At the end
)f the New Kingdom a succession ot weak Pharaohs enabled the
rheban High Priests ot Amen to assume royal dignities. Mem-
phis never regained its prominence after the Middle Kingdom.
The cover illustration ot this issue, an inlaid gold jewel from
[the collection ot the late Horace L. Mayer, could not more aptly
I demonstrate the luxury ot this imperial period. T he jew el hangs
I is a pendant on an elaborately linked chain which is fastened
permanently on a bar soldered to the reverse. The subject is the
young sun-god rising from a lotus blossom, w hich embodies one
of the ancient accounts of the world's origin. Here the inlay
[which formed the lock ot youth has disappeared (cf. the princess
n No. 10). Still preserved are bits ot lapis lazuli inlay in the
:ollar and its counterpoise and 111 the lotus flower. The other
[remnants are a glassy paste or faience, probably used as an ad-
hesive to hold now missing stone inlays. The youth's head
^adorned with the royal uracils) is surmounted by the sun disc.
The ear is pierced tor taking an earring — an affectation developed
during the reign ot Akhcnatcn. Another mannerism invented at
the time are the two creases on the throat. The reverse duplicates
:he front except that the details ot collar and blossom are chased
instead ot being inlaid (No. 1). At first glance, the image shows a
:ertain resemblance to the features of Tutankhamen. However,
the slight curvature ot the nose, hardly visible in a photograph,
snakes it likelier that it represents one of the early Ramesside kings.
jRamcscs I was an old man when he ascended the throne; Setv I
jwas certainly a mature man, and we are left with Ramcses II as
die likeliest candidate tor ownership ot this splendid jewel (13OT-
1234 B.C.). Perhaps it formed part of the regalia of the corona-
don itself. In a sense the coronation ot a new king represented a
rebirth of kingship, and the resurrection is symbolized here by
the birth of the sun-god himself.
This example of a courtly style and art is but one of many
which demonstrate how wealth and luxury influenced the arts.
Even in the constrained silhouette of Hatshepsut's (1504-1483
B.C.) figure on an obelisk fragment from Karnak (one ot |ohn
Lowell's acquisitions), we see a remarkable fluidity, even a
sinuosity of line (No. 2). The famous queen is represented here
in her role as king, a role which has been described as a 'theo-
logical monstrosity'. Hatshepsut's most famous exploit— after her
notorious manoeuvres to ascend the throne as a female Horus —
l. Hatshepsut as king on a fragment of a red granite obelisk from Karnak.
Weight of figure, 69 cm. 75.12, Gift of the heirs of FrancL owell.
1
I
S 1
41.263, Seth K. Swcetser Fund.
5. Limestone relief showing the rooms of the Palace at Amarna. Fron
Amarna. Length 53 cm. 63.962. Charles Amos Cummings Fund.
52
6. Steatite bust of a young woman holding a
ball of unguent ( ?). Height 12- 4 cm. 41.742. Gift
of Joseph Lindon Smith.
7. Bronze mirror held by a young girl wearing
a bead girdle. From Semna. Height 22-5 cm.
29.1197. Museum Egyptian Expedition.
H. White crystalline limestone head of Amen-
hotep II. From Hu. Height 12 - 8 cm. 99.733.
Gift of Egypt Exploration Fund.
was the expedition she sent to Punt, God's Land: the source of
fragrant unguents ami main' other treasures. It is now thought
that Punt was located on the Somali Coast. Hatshcpsut's temple
at Dcir el Bahari — the masterpiece of her architect Senmut,
based on the neighbouring temple of Mentuhotep Neb-hepet-re
of the 1 ith Dynasty — was decorated with an elaborate depiction
of the Puntite expedition. Perhaps the tiny wooden dwarf
(No. 3) who carried an unguent jar on his shoulder is a Puntite (ai.
1500-1400 B.C.). It is certainly no accident that he was carved
in black ebony. Unfortunately the traces of two royal cartouches
on the jar do not reveal the date of this charming figure. Anothei
southerner is shown as the handle of a mirror (No. 4). This
broad-featured girl holds a tiny duck in her hand (ca. 1450-1350
B.C.). The arts of the toilet formed an important aspect of the
luxurious life of the court.
In No. 5 we catch a glimpse of the domestic life of the royal
palace. This fragment, originally forming part of the decoration
of a temple or palace at Amarna (1366-1355 B.C.), shows
several rooms of the palace, including (in the section on the
right) a bedroom supplied with bed, headrest, linen covers, and
even a pair of sandals laid out for its occupant. On the left is a
part of the kitchens, with vessels piled up and a figure attending a
cooking pot. Outside, long-gowned women dance with flowers
in their hands and above is a canal or the river itself . A poet of the
times says: 'Spend the day merrily . . . put garlands and lotus
flowers on the body of thy beloved . . . Set singing and music
before thy face'.
This evocation of a courtly life is further enhanced by the
steatite statuette of a lady holding a ball (of 11 t?) in her
hand and wearing a garment, the folds of which cling to her
body (No. 0) : 'My lover, it is pleasant to go to the pond in order
to bathe myself 111 thy presence, that I may let thee see my
beaut\ 111 my tunic of finest white linen, when it is wet Here
is a literary depiction of the direct observation of nature that we
see in the clinging folds of the lady's gown (ca. 1400 B.C.). This
was an age when feminine graces dominated the scene. We see
them in Hatshcpsut's elegant figure in No. 2, a sacred monu-
ment, and we see them even more explicitly in the charming
little toilet article, the mirror m No. 7. Her features have been
smudged somewhat by the passage of time (ami perhaps by over-
cleaning) but the graceful lightness with which she supports the
papyrus flower to which a mirror is attached expresses openly
the charms of nubile girlhood. She wears a string of beads
around her thighs (o;. 1 500-1450 B.C.).
More utilitarian needs were satisfied with new luxury. The
magnificent vessel seen here 111 colour plate 3 w as not an orna-
ment. It was meant to be used. What a splendid spectacle the
banquets of the period must haw been, surrounded by these
gorgeous vessels, attended by girls like those in Nos. 4 and 7, the
guests attired in their 'fine white linens'. We can be certain that
these banquets were accompanied by the reading of poetry, by
sensuality and music. The royal tableware of the later [ 8th
Dynasty has been excavated at Amenhotep Ill's palace at Malk.ita
in western Thebes and at Amarna. It is interesting that this most
magnificent example of late 1 8th Dynasty potterv probably
comes from the Delta. There is some slight evidence to indicate
that its source is Qantir (date of the vessel : ca. 1 370 B.C.).
The life affected in the royal palaces played an importan role
53
iii the development of the style of sculpture during the iNth
Dynasty. No. 8 is a small crystalline white limestone head of
Amcnhotep II (1450-1423 B.C.). Once thought to be Ptolemaic
because of its insipid expression, 15. V. Bothmcr showed that it
fits a headless statuette in the Louvre, inscribed by Amcnhotep.
The head comes from Perries excavations for the Egypt Explora-
tion Fund at I hi in Upper Egypt. The body was acquired by the
Louvre in the art market. The colossal head of Amcnhotep III
(1410-1372 B.C.) is a more imposing sculpture. Here we see
Amcnhotep the Magnificent (No. 9). But the sensual lips and
eyes portray an oriental potentate. In New York, Brooklyn,
Berlin and elsewhere are sculptures of Amcnhotep III as an older
man, where the full implications of the developing style are
clearly evident.
It was no great step from the mannerisms of the colossal head
to the almost grotesque features revealed 111 No. 10. The block is
a segment of a limestone column, almost certainly from one of
the buildings at Amarna. I Iere is a straightforward statement of
the rebellion of the Amarna heresy (1372-1355 B.C.). The
exaggerated individuality of the faces and figures reveals an
astonishing intimac) of representation which is out of place m
the development of Egyptian Art as we have seen it up to this
point. Even the portraits of Sesostris III and Amenemhat III of
the 12th Dynasty do not convey the sense of rejection which is
found in the art of Amarna. In this relief the Queen — the famous
Nefertiti — stands behind a damaged figure of her husband
Akhenaten. She raises her hands to the rays of the sun disc Aten,
one of which extends the symbol of life to her nostrils. Behind
her stands the little Princess Merit-aten, wearing the youth's lock
and a large disc earring. She shakes a sistrum, accompanying the
life-giving rays of the sun with a celebration of music.
The peculiar intensity of Akhcnatcn's religious fervour
radiates 111 the gaunt features of the sphinx which, according to
the inscription, comes from a temple or shrine of the sun at
Amarna (No. 1 1). Here, as everywhere at Amarna, even official
art is dominated by the personal c haracter of the king. Akhen-
aten s revolution, without doubt a personal statement of con-
viction, was also motivated by reaction to the overweening
power of the I heban priesthood of Amen. Although, the heresy
was therefore a complex of religious and political factors, its
direction took the form of intensifying to an ultimate degree a
passion tor the personal and intimate- interests which had been
developing during the Dynasty.
A sandstone head of a god appears to have the features ol the
boy-king Tutankhamen (No. 12; 1355-1342 B.C.). The some-
— -
— -7- ■
"v-"-. 5 <^ 7% 3
1 fi
i). Brown conglomerate head of Amenhotep III.
Height 52 cm. 00.2KX. Gift of Miss Anna D.
Slocum.
ici. Segment ol a limestone column from a
building at Amarna, showing members of the
royal family. Length 52 cm. 67.637. Mary S. and
Edward J. Holmes Fund.
A
II. Limestone relief from Amarna. showing
Akhenaten as a sphinx. Length 105 s cm. <>.\.\>)\.\.
Egyptian Curator's I unci.
S 1
12. Sandstone head of a god with the features of Tutankhamen. Height
296 cm. II. 1533. Gift of Miss Mary S. Ames.
13. Grey marble relief from the throne base of a statue inscribed by King
Ay from Karnak, showing a Nile god with the features of the king.
Height 45-5 cm. 50.3789. Gift of Edward Waldo Forbes.
14. Faience tiles representing conquered peoples of the Ramessidc Empire.
From Medinet Habu. From left to right: Syrian, Philistine, Amorite,
Nubian, Hittite. Greatest height, 30 cm. 03.1569-1573. Emily Esther Scars
Fund.
what hooded eyes and sensual hut brooding lips give another
evidence of this intimacy which pervades the period. The sensual
qualities or the sculpture are derived from the period of Amen-
hotcp 111. hut after the rebellion of Amarna they have been in-
fused with an element of reflection. In this and the following
piece we are perhaps not far from the spirit which moved the
later kings of the 12th Dynasty. The magnificent relief of grey
marble in No. 13 comes from the throne basis of a colossal
statue inscribed by Tutankhamen's successor Ay (about [345
B.C.), usurped then by his successor Haremheb. It has been
suggested that the original sculpture might have been begun by
Tutankhamen. However, the style of sensuality has matured
here and the face itself looks like that of an older man. The eye is
treated with a form of sfumato and is certainly a deliberate
attempt to represent a brooding introspection. The plasticity of
the modelling of the face reveals a love of flesh for its own sake.
The relief is one of the greatest pieces preserved to us from r 8th
Dynasty art; it is one of the most expressive monuments of all
Egyptian art.
As in the Middle Kingdom, faience was used widely. Much of
the tomb equipment of Tuthmosis IV (1 423-1410 B.C.) con-
sisted of bright blue glazed vessels and shawabti figures (see
colour plate 1). The details are in black. The Ramessidc kings
decorated their palaces and temples with faience inlays. From the
palace of' Rameses III (1195-1164 B.C.) at Medinet Habu in
w estern Thebes come the remarkable tiles in No. 14. They re-
present the foreign captives of the Ramessidc Empire. The glazes
are brilliantly coloured, but they signify the change which had
occurred with the rise of the Ramessidc line. Although the
courtly lite still existed, all emphasis is placed now on the war-
like pursuits of the king, even here in palace decoration. During
the same reigns we have the development of enormous battle
scenes decorating temple walls.
In sculpture the official image was erected by the thou nds
throughout the country, ami it was stamped with a c tain
55
15. Bust of Rameses II and block statue of his son Prince Mentuher-
khepeshcf. From Huhastis. The Middle Kingdom statue of Sennuwy is in
the foreground. Height of Rameses II, I m. 37 cm. Gifts of Egypt Ex-
ploration Fund; Sennuwy, Museum Egyptian Expedition.
16. Wooden toilet box with a lion on the left and a dog attacking a young
bull on the right. Width 7 5 cm. 49.493. William F. Warden Fund.
17. (iold ibis decorated with glass luscd in gold cloissons. Height 3- I cm.
04.174S. Henry L. Pierce Fund. Green-glazed steatite unguent jar with
animals. From Abydos. Height 3-8 cm. 00.701. Gift of Egypt Exploration
Fund.
banality (No. 1 s). This is a reflection of the formalism which now
marked every enterprise, whether in art. politics, or religion. The
Ramcsside period is in many respects the best known to the
traveller in Egypt because its monuments are found everywhere.
The weighty grandeur of the Karnak Temple portrays the un-
prettiness of this age of warrior-kings.
Nevertheless, it was .1 time of ever-widening intercourse with
foreign neighbours and not all of it consisted of battles. I he two
gold pieces, both inlaid with blue glass fused in gold cloissons,
have an Egyptian iconographical source: m the fust, the ibis, and
the other the recumbent lion (No. 17 and colour plate 2). How-
ever, they are sufficiently un-Egyptian in style to indicate that
they have a foreign source probably Syria. I lere the influence of
Egypt has worked on the art of another people. In contrast, the
wooden toilet box in No. 16 is unite Egyptian, but employs a
motif borrowed from the Aegean world. The famous flying
gallop 111 which animals are portrayed with all feet off the
ground pr< ivides the dog w hic h attacks a young bull with an un-
accustomed sense of specific action. I he two gold jewels (playing
pieces?) were perhaps made sometime between 1300 and 1200'
B.C.; the box during the reign of Tutankhamen. Another object
revealing foreign influence is the beautiful little green-glazed '
toilet jar decorated with charming figures of animals, including
some in the flying gallop (No. 17). The jar was probably made
about the reign of Amenhotep I (1545-1525 B.C.). It was
excavated by Pctrie at Abydos.
When all is said and done, it is the reign of Amenhotep III
(1410-1372 B.C.) that stands out in achievement. I lere all the
movements of the period seem to unite 111 a brilliant statement of '
official and private interest which was not known again. Shown
in colour plate | is the head of a goddess, from an unknown
provenance, executed in a fine-grained mottled green stone. 1 he
enormous wig and crown which she wears have the formalism
which is c haracteristic of Egyptian art in every period. But the
tiny face conveys to the viewer not sacred ritual, but sensual
enjoyment. This is the genius of the most splendid era of Egyptian
history.
To be concluded. (This is the third in a series of jour articles.)
5*
Tiffany favrile pottery
a new study of a few known facts martin p. eidelberg
AT the turn of the century the United States, like Europe,
Inexperienced a resurgence of interest in the applied arts.
Handicraft societies were organized throughout the country,
yearly exhibitions were held, and there was a proliferation of
magazines which encouraged this development. Leading the
way, of course, were the creative artists and foremost among
diese was Louis Comfort Tiffany. If today, as in 1900, his name
s primarily associated with his wonderfully shimmering vases of
ridescent glass and his richly lined lamps ami stained glass
windows, one must also remember that his self-publicized 'quest
for beauty' led him into many areas of artistic creation : jewellery,
snamels, textiles — ami the subject of this study, pottery.
We know surprisingly little about the pottery produced by
j Tiffany Studios.1 In part, this is due to the fact that it bad very
little publicity at the time. Also, in the hiatus between 1900 and
the present there was such .1 strong disinterest in if not distaste
■ for — the fin de Steele that what little information there was fell
into oblivion. We can only begin to piece together what was
once common knowledge.
According to the modern literature, Tiffany is supposed to
have begun producing pottery in 1906, and his entrance into this
held was supposedly precipitated by the closing of the Grucby
Faience Co. of Boston which until then had provided him with
ceramic bases tor his lamps.-' This information, however, is
ill-founded on most points. In the first place, as we shall later see.
Tiffany's decision to produce his own pottery was made a good
number of years earlier, w ell before there w as any possibility of
the Grucby factory closing. Secondly, Grucby remained in
operation for a number of years after 1906 ami, in tact, Tiffany
shades were being exhibited with Gruebv bases as late as 1910,
well after Tiffany had begun to produce his own pottery.3
Tiffany's entry into the field of ceramics had little to do with
• lamp bases even though he soon began to make his own.4 It is
indicative that the first exhibitions of his pottery featured only
decorative vases.' Certainly it was the decorative possibilities of
this medium which intrigued Tiffany, for this was a time when
j he was gradually expanding the realm of his creative activity,
convinced that the decorative arts could convey his idea of
beauty to a far wider public than could the fine arts.
The year which has been cited as the starting point for Tiffany's
pottery (iQOd) is not really the beginning of the story as much as
jit is its culmination; for experiments were already underway 111
J I S98 at the factory in Corona, Long Island." The work w as
I carried out 111 private, and even though by 1902 a rumour about
[Tiffany's new venture had managed to circulate in New York,
I still, no one knew the nature of the experiments or their out-
come.7 The potter\ (.lid not make its official debut until 30th
April, 1904, at the World's Fair in St. Louis, when three favrile
pottery vases with an ivory coloured glaze were show n as part of
i the Tiffany Studios display.8 One year later, on 1 sth April, 1905,
1 Tiffany put four more ivory coloured vases on displ; . this time
lat an exhibition of the New York Keramic Smn, 9 These
ceramics were not yet available commercially but it is clear that
Tiffany was preparing to market them. When he applied on
April 20th of that year to register his new trademark he stated
that it was to be used for 'decorative glass, enamels and pottery'.1"
And then, in the latter part of 190s (not in 1906 as has been
presumed) the pottery was placed on sale with a major display-
that was held in the new building of Tiffany and Company at
Fifth Avenue and 37th Street — a display which was probably
arranged in conjunction with the official opening of the building
on sth September, 1905." Finally, in keeping with his inter-
national status, Tiffany sent an exhibit of his products to the 1906
Salon ties artiste* franeaises. In this he included, of course, some
choice examples of his new favrile pottery.
I. A group of Tiffany favrile pottery vases with a tulip design (17 . c m.
high), toadstools (8-5 cm. high), and a gourd design (22-5 cin. 1 ^h).
Author's collection.
57
2. \ Tiffany favrile pottery t.i;z.i in the form of pond lilies with frogs at the base ( 17 cm. high). Author's collection.
The interval ot sonic seven years between the time Tiffanv
began experimenting and the time he put his pottery on the
market may seem surprisingly long hut this was actually nothing
new to him. He had waited three years before putting his glass
vases on the market and there seems to have also been a long
interval before his enamels were released commercially.12
I iffany could, of course, afford such long periods of experi-
mentation, thanks to his vast financial resources. Moreover,
there is also probably a touch of Tiffany s showmanship involved.
By withholding his products until they had been formally
exhibited and critically acclaimed, he gained for them a certain
aura which increased their commercial value.
! ide range to the prodiu tii n m -
Tiffany Studios. Some of the pottery was made by hand, other
pieces were thrown on the wheel, but b\ tar the greater number
were cast from moulds. The majority of the decorated vases were
cast, including such delicate vases as the fragil
and the bowl-like vase with us intricate pi
il :;. i\\ , r - and tendrils (No. 4). As is
techniques did not .it all interfere with the
quality of the w ork. There was also a certain amount ot experi-
mentation with the clays used, but by and large almost all work
w as done in a fine, white, scmi-porcclainous clav that was tired
high.
Tiffanv owned a very large collection ot oriental ceramics,
and. like many connoisseurs and artists of that day, was deeply
influenced by the simplicity ot their shapes, particularly their
subtle, curving lines unhampered bv the obstructive mouldings
and lips of Western tradition. Manv of his vases are accordingly
based on Eastern models. Some, with their long necks and
tapered bodies, seem surprising! v modern Others tend to be
bulbous and squat and suffer from that late nineteenth-century
sense ot heavy proportions which reviewers also criticized in
some of his glass. Many ot the vases were left unadorned; sonic
were given metal collars (often of an unfortunate beaux-arts
character), and others were decorated. One type of decoration,
generally applied to low, rounded tonus, was a pattern of raised
dots or dots interspersed with animal motifs from the Near East.
Other vases received designs, generally floral in character, either
in relict or incised into the body.
■
A Tiffany favrile pottery vase with inverted tulips (13 cm. high).
Author's collection.
Perhaps the most distinctive and interesting tor us today are
those vases which are treated sculpturally no that the decoration
creates the form of the vase. The walls have a soft fluctuation of
form as the plants push out or recede. The rounded, scalloped
lodges of flowers or unfolding fronds ot ferns form the lip of the
wase. An interestingly pierced silhouette is created on one vase
(No. 5) by jack-in-the-pulpit plants. All forms of American
flora, and particularlv wild ones, were used: not only flowering
plants like the pond lily and fuchsia but also common fruits and
grasses, ferns and toadstools. Occasionally various insects, birds
and animals were selected for decorative motifs. In accordance
with the general taste of America and that of Tiffany himself,
the subjects are for the greater part treated naturalistically. The
quality of design is introduced not so much through stylization
as through the positioning of the various motifs. Only occasion-
ally docs one find a rhythmic energy associable with the art
nouveau movement or an abstracted design such as the wonder-
fully conceived vase formed from the opening fronds of a fern
No. 4).
The glazes that Tiffany used are as important as the shapes of
the vases. An ivory coloured glaze, such as we see on a vase
illustrated here (No. 1), was, as has already been noted, the first
ne exhibited. It is really a light, yellowish green glaze whose
transparency allows the white clav bodv to come through at the
points of highest relict. The glaze then shades off to a darker,
more olive tone and in the recessed places of the design, where
the flowing glaze has welled up, the colour goes from dark green
to black. Thus, not only is there a subtle diversity of coloration
within this one tonal range but also the running of the glaze picks
out the lines of the design. Tiffany thus utilized the natural
consequences of the firing process, a solution comparable to the
process he used for his glass. In the latter the coloured glasses arc
fused in a molten state, and expand and contract as the glass is
blown into shape, so that the resultant design is an integral part
of and natural complement to the shape ot the vessel. And like
his work in glass, his ceramics show a certain degree of chance:
one cannot precisely control the running ot the glaze, and so no
two pieces are exactly alike.
A second glaze which Tiffany developed tor the decorated
pieces is a warm green, irregularly splotched with darker greens
(Nos. 2 and 5). Again, as with his glass, vivid effects are achieved
not by painting but by the studied effects ot mineral reactions.
As the colour breaks out over the design, the resulting splotched
effect is like that of varicoloured moss on a rock.
While the ivory glaze and the green one were the most
favoured, there was a wide range of finishes. There were matt
glazes and crystalline ones, some with roughened surfaces. Even
an iridescent glaze was developed.13 Tiffany was. above all else,
a colourist and the colour range was understandably broad. In
addition to the browns and ochres, there was the whole of the
spectrum. Not onlv did Tiffany combine such boldly different
coloured glazes as red and blue on a single vase, but he also often
used mixtures ot closely related intermediate tones whose
fluctuations well conveyed his sense ot colour. In general, the
more unusual textures and colour combinations were reserved
tor the simpler, undecorated vases. Again the solution is one of a
natural harmony; the simple lines ot the vessel permitting the
Ljlaze to stand forth for its deserved admiration. Finally, if
should be noted that, as another alternative, certain vases were
glazed onlv on the interior, while the exterior was covered with a
bronze plating.14 Even here colour was ot importance, tor one
could have various bronze patinas or even a silver or gilt overlay.
It has been sim^ested that since Tiffanv and Co. sold Rook wood
potterv. examples ot this famous ware might have been a source
of inspiration tor the potters working for Tiffany.15 However,
not only is there no real stvhstic relationship, but also this
attributes too provincial an outlook to Tiffany and his assistants,
and to the United States at large. In the first place, both Tiffany
and the Corona workmen would certainly have had a wider
knowledge ot American developments. Not only did Tiffany and
Co. sell the wares ot a number ot native potteries, exhibiting even
the very advanced porcelains of Adelaide Alsop Robineau, but
there were also other ceramic displays in New York City, as well
as numerous trade and art journals. Moreover we can assume
that they were well acquainted with the leading European
4. A group of Tiffany favrile pottery vases
decorated with designs of a flowering \ ne,
stylized fern fronds, and quince (from cko-
rative Kunst, 1906).
SO
5. A group of Tiffany favrile pottery vases decorated with a flowering
plant, a wild grass, corn, jack-in-the-pulpits and ferns (from Dekoratire
Kunst, 1906).
ceramics. There were the reports ot the international art
correspondents in the magazines, and also examples of European
ceramics had been brought into the United States. Titian v s.
tor example, sold a good deal ot European and particularly
English pottery. Furthermore Tiffany was in the habit of
summering abroad, often taking his assistants with him. And in
n;oi. at just the time his experiments m pottery were under way,
Tiffany Studios held an important exhibition of the leading
French art noiifcati ceramicists, including Delaherche, Dalpayrat,
1 )oat, and Bigot.
Yet after all is said, one realizes that while the novel forms and
colorations are part of the general 1900 Zeitgeist, still the specific
qualities of Tiffany pottery show little external influence.
Rather they are a continuation ot ideas which had been tried in
the other departments ot Tiffany Studios. For instance, a ribbed,
gourd-shaped vase that was executed in pottery recalls a similar
vase in glass made a tew years earlier.'" In particular, the ceramics
follow (or at least parallel) developments 111 the enamels depart-
ment. Small vases enlivened with designs of toadstools in relief
were executed 111 both media, as were a series ot lidded ]ars with
floral decoration. Abo executed 111 both media w ere bowls whose
steepened sides are decorated with descending fruit or floral
patterns. Or, to be even mure specific, we cite one case where a
design of pussy willows was first executed in enamel on copper
and was then later repeated in pottery (No. 6). 18 The two woes
are identical, not only in the disposition ot the branches and buds,
but also in the way the cylindrical walls are pinched together at
the side in a [apanesc manner.
In all this one never finds mention ot the individual craftsmen.
We are told that the chief assistant 111 the pottery department was
a voting 1 )anish woman 1 " but there is no mention ot her or ot the
other people who worked in this division 111 the publicity released
by Tiffany Studios. I his is contrary to the growing tendency in
the other major potteries ot America, such as the Rookwood and
(irueby factories, where the individual craftsmen were allowed
to initial their pieces, and their names were generally listed in
public exhibitions. Each piece of Tiffany pottery w as signed with
.1 simple LCT monogram that was incised into the clay (No. 7),
accompanied at times by short code letters or numbers that are
similarly incised. Certain vases have etched onto the glazed
underside <>t the wise an additional inscription whose general
format is /.. C. 'I'iffaiiy Favrile Pottery followed by a capital /'(tor
pottery) and a numerical designation; both the wording and the
mode of etching it derives from the signature used on Tiffany's
It is perhaps just and proper that only the name of Tiffany vij
associated with his ceramics, for one feels that his was certaiik
the dominating influence.21 It is, of course, difficult to ass,
precisely what share he ever had in his many undertakings. Hu
supposed to have provided sketches and suggestions of usaf
forms in nature tor the enamels department.-2 An idea of tf
working arrangement between Tiffany and his staff is recordl
in the Art Work of Louis Comfort Tiffany, an ostentatiously de lui
book written by Charles de Kay under Tiffany's supervisic
There the atelier pattern of work in the enamels department
described :
'A sketch by the master is taken in hand; often a second wai
color cartoon is made and from this is built up . . . the model .]
At various stages in its development the master is consulted .
When the master is satisfied the final touches are applied .
and the object, a result ot many consultations and many expt
hands is ready for the show-case.'23 i
Presumably some similar sort ot arrangement prevailed in t.
ceramic studio.
While it was certainly left to trained technicians to perfect tl
individual glaze formulas, still the basic concepts which don'
natcd the experiments — a dependence on chemical interactio
and the subtle but vivid coloration — are wholly in accord wf
Tiffany s own aesthetic. In the same way, while iiieii vidu
designers may have worked out the specific details ot eac
design and may have incorporated ideas ot their own. always tl4
presence ot Tiffany is to be felt throughout. The use of sue-
unassuming plants as the tern and toadstool, and the intere
shown m native wild flowers echo Tiflanv s own predilection
Certainly we must be wary of assuming that any single ceramici
working tor Titian v made the major contribution; as we hav
already seen, many ot the ideas seem to stem from the wor=
going on 111 the other departments ot Tiflanv Studios. It shouD
also be appreciated that there is a sophistication in all the produc
of Tiflanv Studios, regardless ot medium. The ceramics and a
the other creations ot the firm have an elegance which sets thei,
apart from the mainstream ot American art at the turn ot th
century. This cannot be attributed to the various individu;
craftsmen who worked tor the Studios but, rather, must be see
6. Left. A Tiffany vase with a design of pussy willows, executed in enaim
on copper repousse (from The Craftsman, 1903). Right. A Tiffany favril
pottery vase with the same design {2b cm. high). Author's collection.
The Louis C. Tiffany monogram used on favrile pottery.
5 the result of Tiffany's guiding hand which was everywhere to
cfelt.
Tradition has it that Tiffany's pottery was not a commercially
.lccessful venture and, like the products of a number of other
"iff any Studios departments, was stopped some time before
920. 24 In a way their short life reflects the general state of affairs,
"he first decade of this century was one of the brightest 111 the
, istory of ceramics 111 the United States, and, althougn mostly
Uprgotten today, a large number of potters and potteries enjoyed
Rational and even international fame. Yet the level of excellence
iiat was achieved and the promise it held for the future came to
aught. By the end of that hist decade a trend to dull, matt
lazes and simpler, more 'sensible' shapes was noticeable through-
ut the country and, sadly, a golden age was already on the w ane.
rh mostb
NOTES
I would like to express my thanks to Mrs. Lillian Nassau for her kind help 1 .1111
lso indebted to Dr. and Mrs. Robert Koch, and to the Research Council of
lutgers, the State University.
G. Speenburgh, The Arts oj the Tiffanys, Chicago, 1956, pp. 68-69; R. Koch,
.ouis C. Tiffany, Rehel in Glass, New York, 1964, p. 140; K. M. McClinton,
Collecting American I 'ictorian Antiques, New York, 1966, p. 240.
See P. Dudley, 'The Work of American Potters. 1. Examples ol the Grueby
tottery', Arts and Decoration, I (November) 1910, pp. 20-21. L. W. Watkins,
liar I y New England Pollers ami tlieir Wares, Cambridge (Mass.), [950, p. 232, gives
[ 907 as the terminal year tor the Grueby factory but clearly even this is at least
tiree years too soon.
In the 1906 Hlue Book of Tiffany and Co., p. 459, the Favrile pottei , items that
're specified are 'table lamps, vases, jars and other pieces', but there is also the
l|Ualitying phrase 'now in process of manufacture'.
I Both Speenburgh and Koch (see 2 above) speak of the first Tiffany vases as being
[ised for lamps, but this is incorrect. It is to be noted that Clara Huge. 'American
[Ceramics — A Brief Review of Progress', International Studio, XXVIII, 1906,
j 1. xxiv, points how Tiffany used Grueby pottery for lamp bases and savs 'probably
[Tiffany will in future produce the lamps altogether'; Ruge's use of the future
onditional tense makes it clear that Tiffany had not yet begun to exhibit Ins own
eramic bases. The same idea, similarly phrased, appears in another ol Ruge's
rticlcs written at the same time: ' Amerikanische Keramik', Decorative Knnst,
I (IV, 1906, p. 1 72.
I When Tiffany, together with the Tiffany Foundation, made a loan to the
Metropolitan Museum of objects executed in various media by the Tiffany
[ itudios, they sent an accompanying inventory which is still in the Museum
Irchives. It lists the single piece of pottery as having been made 111 1S98. Another
nteresting document is the paper label on a Tiffany pottery vase 111 the collection
if Dr. and Mrs. C. F. Church, Jr. of Independence, Mo. The label bears the written
nscription: 'No. 1, Sept. 13, 1901'; see H. Winters, The Dynasty of Louis Comfort
Tiflany, Boston, n.d., pp. 166-67. The only contemporary reference to the date
vhen Tiffany began his work in ceramics is unfortunately too casual to be taken
iterally, but it does suggest a date close to the turn of the century: C. Ruge,
Amerikanische Keramik', Dekorative Kunst, XIV, 1006, p. 172: 'Vor fiinf Jahrc
uben die Tiffany- Werke die Keramischc Produktion begonnen . .' (tor the
lating of this article see 11 below).
'French Pottery', Keramic Studio, IV, (June) 1902, p. 30: 'It is claimed rJ1.1t Mr.
tiffany, the maker of the beautiful Favrile glass, is experiment ittcry, and
tis very probable that he is not following beaten paths and that w ' sooner
or later some striking and artistic potteries come out oi his kilns. But so tar nobod\
knows in what direction his experiments are carried.'
" C. Ruge, 'Kunst und Kunstgewerbe auf der Weltausstcllung zu St. I ouis (II.)',
Kunst und Kunsthandwerk , VII, 1004, p. 635: 'Louis C. T iffany hat cine prachtigc
Sammlung von Kupfervasen mit durchsichtiger Emaileinlage ausgcstellr, ferncr
drei Stiick Favrile Pottery'; also, 'ein gleiches Vcrfahren wie bei den bcruhmtcn
Glaswaren, auf Keramik angewandt'.
9 New York, Society ofKeramic Arts, April 19 - May 10, 190$, The Arts of the Fire,
p. 22, 110s. 70-73. There are many reviews of the show and none with more than a
passing mention of Tiffany's display: 'Keramics and Textiles', The New York
Tunes, April 20, [905, p. 9; C. Ruge, 'Die New-Yorker Kunstausstellungen der
Saison 1904-1905', Kunstund Kunsthandwerk, VIII, 1905, pp. 474-75; 'Exhibition ol
the New York Society', Keramit Studio, VII, (June) 1905, pp. 25-2.X, A. V. Ruse,
'The Thirteenth Annual Exhibition of the New York Society ofKeramic Arts',
American Pottery Gazette, I (May) 1905, pp. 23-24; (F. Levy) 'Current New York
Notes', Art Bulletin, IV, April 22, 1905, p. 3. It is also to be noted that an illus-
tration of a Tiffany pottery vase with a design of fuchsias appears together with
photographs ot Tiffany enamels and glass (all mistakenly labelled as glass) in Dei
Modeme Stil, VII, (June) 1905, pi. 70. In view of the date, it seems likely that these
photographs were issued by Tiflany Studios in conjunction with their display at
the New York Keramic Society, but, as always 111 this magazine, there is no text
to confirm our assumption.
111 V. Van Tassel, 'Louis Comfort Tiffany (II.)', Antiques Journal, VII, (August)
1952, p. 13.
II There are many newspaper notices of the opening ot Tiffany and Co.'s new
store (e.g.. The Sew York Times, September 6, 1905, p. 7) but they only repeat the
text of a brochure issued by the firm which describes the store's architecture. There
are, however, a tew reviews ot the display ot Tiffany tavrile pottery: ('. Ruge.
'American Ceramics — A Brief Review of Progress', International Studio, XXVIII,
1906, p. xxiv and illus. p. xxiii: idem, 'Die Kunstausstellungen der Saison 1905-
1906', Kunst und Kunsthandwerk, IX, p. 705 and 1 11 us. pp. 698-703 ; idem, 'Amerikan-
ische Keramik'. Dekorative Kunst, XIV, 1906, pp. 171-72 and illus. pp. 172-75.
None ot these reviews mentions the date ot the exhibition vet since the third
appeared in the January issue ot a Munich publication, it must have been written
in the previous month it not earlier, but. 111 any event, 111 1905. Favrile pottery is
not listed tor sale in the 1905 Blue Book of Tiffany and Co. (which had, 111 fact,
been prepared by October 31, 1904; see its p 4) but it is listed 111 the 1909 Blue
Book, p. 459 (prepared October 2s, 1905). The assumption that Tiffany pottery
was begun in 1909 is perhaps due to the Illisleadingly late date of the reviews or
the listing 111 the 1906 Blue Book.
'-' I he production of glass vases began 111 [893 but they w ere w ithheld from the
market until 1896; see Koch, /.. C. Tiffany, Rehel in Glass, pp. [20-23. According
to the inventory prepared by Tiffany and now in the Metropolitan Museum,
work on enamels was begun in 1898. The first exhibition of them w as not in 1 901
in Buffalo, N.Y. as Koch c laims (p. 1 36) but rather in the Paris Exposition of 1900;
see W. Fred, '(das und Keramik auf der Pariscr Weltausstcllung', Kunst und
Kunsthandwerk, III. 1900, p. 3S2 (where the illustrated enamels are wrongly
labelled as glass), p. 388. See also Berlin, Kunstgewerbe Museum, Werke um 1000,
1966, pp. 26-27, No. 28 (the enamel is wrongly listed as being bv Tiffany and ( 'o.).
Enamels are not listed tor sale 111 the 1901 Blue Book of Tiffany and Co. but they
do app< .11 111 the 1904 edition, pp. 375-76. Unfortunately, I have not been able to
consult the 1902 or 1903 editions.
1:1 There is a kind ot European iridescent pottery, always unsigned, but I believe
Austro-Hungarian in origin, which is frequently nusattributed to Tiffany, often
because paper Tiffany labels are attached; illus, e.g., A. C. Revi, Nineteenth
( '.i-utiu y ( ,lass, New York, [959, p. 232.
" Bronze pottery would seem to be a late development. It is not listed in the 1909
nffany Bine Book but it does appear in the 191 1 edition, p. 710.
15 Koch, /.. C. Tiffany, Rehel in Glass, p. 140.
III A. B. Leonard, 'Exhibition of French Pottery at the Tiffany Studios', Keiann:
Studio, III. [901, pp. 82-83.
17 The ceramic vase is illustrated in Winter, The Dynasty of L. C. Tiffany, p. [66.
The glass vase, which was exhibited in 1896, is illustrated 111 Brussels, Musics
royaux d'Artet d'Histoire, Art Verrier 1865-1925, 1965, p. 27, no. 116.
ls The enamelled vase was one of a group illustrated in The Craftsman, II, 1902,
opp. p. 61 ; it also appeared alone in ibid., IV, 1903, opp. p. 181 (this is the photo-
graph illustrated). The ceramic vase illustrated is, like many others, glazed only 011
the inside, while the exterior has been left in a bisque state. These vases were left
unfinished; some bear the full inscription and model number ill pencil, again
indicating the temporary state they were left 111.
19 Speenburgh, The Aits ol the Tiffanys, p. 69.
'-"There are. ot course, minor variations; e.g.. the inscription sometimes reads
'L. C. Tiffany Inc., Favrile Pottery'. The code 'A-Coll.' after the inscription means
that the vase had been put into Tiffany's personal collection. Full inscriptions were
also applied to the bronze pottery with the phrase 'Favrile Bronze Pottery' and a
'BP' prefix to the numerical designation.
-' It is perhaps proper to note that in one exhibition where Tiffany showed his
glass, pottery and enamels, all were officially listed as 'Designer. Mr. I ouis C.
Tiffany, Maker. Tiffany Furnaces. Corona, L.I.': see New York. Society of
Keramic Arts, April 19- May 10. 1905, The Arts of the Fire, p. 23.
22 Koch. T. C. 'Tiffany. Rehel in Glass, p. 1 !<>.
23C.DcKav. The Art Work of Louis C. Tiffany, Nov York. 1-114. p. 32.
21 Tiffany Favrile pottery is still listed for sale in the 1917 Tiffanv Blue Book. p. 442,
but is no longer listed in the 1920 edition; unfortunately, 1 have not been able to
consult the 191 1 S or 1919 editions. It is interesting to note that in De Kay, Th irt
Work ot Loui< C. Tiflany. p 77, the past tense was already being used in 19 in
regard to Tiffanv's interest in pottery; 'glazes on pottery claimed much 1 his
time during certain vears".
Con nec ticu t f u rni t u re
reconsidered
MARVIN D SCHWAR
AKI -AITUAISAI of seventeenth- and
eightecnth-centur) Connecticut furniture
h.is been made in .1 handsome catalogue pub-
lished by the Wadsworth Athcneuni in Hart-
ford, C )onnc( tii in. Sonic 275 pieces arc illustrated
in the study by |ohn T. Kirk, Director of the
Rhode Island 1 listori< al Soe iety, one ol the lead-
ing American students ol furniture history, and
I lenry P. Maynard, the Athencuni's ( 'urator of
American Ai t. rhe results confirm long-standing
suspicions th.it C ounce ticut produced distinctive
furniture th.it is unusually simple but character-
ized by i onsistem v and strength ol design.
Surveying the tick! form by form, the writers
have selct ted outstanding examples ol documen-
ted Connecticut Immune winch help to explain
win it has had such greal appeal to collectors
through the years. American e olonists had begun
producing furniture in a distinctive st\le almost
as soon as the) settled. Each colony offered
v. illations in design that reflected the differences
in taste, liostonians preferred mote delicate
1. Chippendale style sitlo chair by Eliphalcl
Chapin. Courtesy IVudsworlli Athcncum, I larijord.
f)2
work than New Yorkers, and Philadclphians
had a predilection for the elaborate. American
styles are seen at their best in the work ol crafts-
men active in large urban centres; and possibly
because smh a centre was lacking in Connecticut
the best work was simple. Connecticut crafts-
men followed the trends in fashion. ( )ccasionally
they were slower in changing than their urban
competitors and they avoided the use ot intricate
detail which might price their wank out ot the
reach ol their market, so their approach is
distinctive. The modifications they introduced
w ere ingenious and always a delightful play on
the classical vocabulary ol ornament more
seriously followed in New York or Philadelphia.
The rosettes ot handsome urban work were
sometimes transformed into pin-wheels and
shells became fans in an effort to create designs
that could be easily executed.
rhe inter-relation between English and
American design must be studied at greater
length. Mr. Kirk, one of the lew scholars to give
the problem serious thought, orlcrs poignant
suggestions to prove rural English design was
more influential in Connecticut than fashionable
1 ondon furniture, lie has also investigated the
genealogies ol American settlers to discover ex-
planations tor resemblances and obvious con-
nections in the efforts ot Americans working
1 clati vch la r apart . I he Philadelphia influence on
C ounce tic tit furniture design is vers possibly
due to the l.ut that settlers in Pennsylvania and
Connecticut were from the same parts of Eng-
land and often families were divided between
the two c olonies.
In the seventeenth century American crafts-
men, along with their provincial English cousins,
were about a century behind the latest London
fashion. The emphasis was on furniture in
straight, heavily proportioned forms influenced
cither by traditions that ma\ be traced back to
the middle ages, or by innovations introduced in
the- sixteenth century when the Renaissance
leached Northern Europe. Connecticut turni-
ture of this first period ol settlement, like that ol
Massachusetts, was essentially Tudor style. Each
colony had a distinctive approach, however.
Connecticut craftsmen favoured the more fre-
quent use ol flat carving, preferring surfaces
cle c orated with overall designs. In Massac husetts,
more use w as made ol applied bosses and spindles
to ornament chests and cupboards. I'ypieal
( ounce in ut motils included the sunflower and
tulip simplified to almost abstract patterns that
have a vitality and reveal a facility reminiscent
ol simple floral designs In Matisse-. Hartford
seems to have been the- 1 e litre ol produt lion foi
oak furniture with carved decoration. In nearby
Western Massac husetts related w oi k w as done.
One ol the lew omissions that may be noted
the catalogue listings which cover almost evd 11
important phase ot the subject, is the cenirt ci,"
board. A curious, heavy piece that was design
primarily for display, there are a tew examp
which have Connecticut histories and rev
consistent differences from the Massachusc
type which is better known. Also, the sm
chest-on-stand is a seventeenth-century foi,
which is a significant rarity when made in Co
necticut, and the tew examples have been 0111
ted. The popular versions ot both these ton
(well known because they are represented
major collections) would have complement
the otherwise comprehensive selection, b
perhaps the authors questioned their origins.
The end ol the seventeenth century marked
turn to elegance in the colonies as w ell as in t
Old World. American craftsmen began doit
cabinet-work alter having concentrated e
simpler joinery in the earlier period. Oelica
veneers and inlays were introduced to explt
the decorative possibilities ol the surfaces ail 1
e on st rue t ton techniques were more sophisticate
Walnut w as used instead ot oak as the most in
portant furniture wood because it was hai
enough to withstand wear and yet could 1
handled more delicately than the rough 1
grained oak. Forms were lightened In the ii.
traduction ol trumpet-turned legs and intrica*
eletails 111 mouldings used to enclose veneei
(ounce lie ut 1 raftsmen avoided the comply
designs and were consistent 111 modifying tlj 1
style to meet their needs.
The period, known as William and Mary cj
the American scene, is seen at its best in C'01
necticut furniture that is painted. Coillicctict
craftsmen adapted designs from the Near Eat 5
and the Orient. Lacquer and textiles provide,
specific sources of inspiration, although son;
patterns ma) have been known from thj
English imitations ol lacquer and from tli
marquetry decoration that appealed on tine
English furniture. Tracing down family historic
has enabled Mr. Kirk to confirm the traditio
that the ( luildford-Saybrook are a w as one of th
centres of painted furniture production. Ih
basic forms ol tin- painted examples are generally
conservative, the' simple blanket chest with
iiiiiiiniimi ol detail in reliel was favoured lilac!
and an Indian or brownish red were the colour
most frequently used tor the- ground ol p.nntcc
pieces, keeping close to the colours ol lacque
w hie h w as 1 hen popularly c ailed |.i panning. Tin
designs were most often inspired by the Nea
Eastern tree ol hie- motil rathci than the <■ hinesi
figures thai are c ommon ill l.u quel and its m.OK
fashionable imitations. The floral designs wen
applied with what must have been great gusto tl
i
<<
hieve the impressive linear patterns that have
rvived.
One unusual design which may have had
mholie significance is the rose, the thistle and
e fleur-de-lis, the sign of the Pretender, Bonnie
(ince Charlie. It occurs in a number ot examples
Connecticut furniture as one ot the more
iboratc and delicate patterns, but there is no (Hf
3y of ascertaining to what degree the popular- f ,J/
i of the motifs depended upon then relation to
I hero. In an early publication of the high chest vtff
I ustrated in the catalogue some suggestion was i A
I ade that the piece was to have been used by the
Ijod prince during a proposed sojourn m the
I ew World. Messrs. Kirk and Maynard refrain
torn that kind ot Romanticism.
| A radical change in conception affecting
| rniture design occurred in the Western world
T the beginning of the eighteenth century. It
j'gan close to 1700 in fiance and England, but it
Iras about 1730 before the New World was
ffectcd. Earlier furniture design had been essen-
illy architectural. Not only were the elements
J design derived from architecture, but forms
ere treated as masses and assembled like the
irt of a building. Eighteenth-century design
l;camc organic with furniture forms conceived
I growing phenomena. The parts ot a chest or a
lair were unified as the parts of a living organ-
f n would be. At this tune the curving animal
f g was introduced as a logical support, although
[ chitectural ornament continued to be import-
fit. The American version ot the style is custom-
I ily divided into two. The first, known as the
l ueen Anne style now, is the simpler. The
ff cond, the Chippendale, has more elaborate
I 'tails, some ot which are derived from designs
I Thomas Chippendale's book of suggestions
[>r gentlemen and cabinet-makers which was
rst published in 1 7 s 4 . Very likely Connecticut
raftsmen used the two styles interchangeably.
tnple design was emphasized, and, except tor
flair shapes, the two styles were similar. First
[ alnut and then mahogany w ere the woods
preferred in eighteenth-century urban American
[•litres tor Queen Anne and Chippendale
lirniture. Gradually the exploitation of surface
|ay with veneers or painted patterns was
I'opped in favour ot a wider use ot carved
[proration so that fine solid woods were needed.
J onnecticut cabinet work was made of local
I oods stained to resemble mahogany. Cherry
id maple are two of the most popular woods.
I Connecticut chairs vary from relatively ele-
f int examples to those that are fairly primitive.
I he catalogue emphasizes the more elegant
I .'cause they are more telling in the history of
resign. Queen Anne chairs with their curving
hp rails and solid back splats resting on horsc-
I 'Oe shaped seats were particularly well done by
onnecticut craftsmen. The simplicity charactcr-
I tic of the best examples was consistent with the
Sunflower two-drawer chest possibly by Peter
linn. The Connecticut Historical Society.
Queen Anne cherry dressing table c. 1750. Has
matching high chest of drawers. Courtesy of
he Henry Ford Museum, Dearborn, Michigan.
4. Block front, three-drawer chest made in Ne
London County 1755-1805. Courtesy Mi
Houghton Bulkeley.
i ounce tu tit approat h. t iontemporary examples
tit. it are more conservative, with rectangular
sr. us made ol rush and straight turned legs rather
1I1. in the curving cabriole lei; typical ol' the
Queen Anne style, but with c urving top rails and
vase-shaped back splats, serve .is .1 reminder th.it
style changes were never complete 111 Con-
ne( tu ut.
( 'hippendale e hairs made 111 C !onnc< ticut show
the same range. ( )ne group ol examples thai are
included 111 the catalogue are very close to tin-
work ol I'hil.idel] hi. 1 .incl New York. Their
yoke-shaped top-rails and pierced h.uk splats are
onl\ slightly less elaborate than urban examples,
Inn the pi. unci, turned legs and rush sc. its per-
sisted 111 some .ire. is ol C ounce tic tit.
1 lie variety ol small tables introduced lot then
convenience in ihc eighteenth century were .1
mc. ins ol demonstrating the virtuosity ol the
c abinet— make] in London and Paris. I he linest
examples have elaborate carving .nul in I'aris
mechanical gadget ry was employed to make hit lc
tables e ven more useful. I he Connecticut de-
signs are very decorative, but they are simple'.
Carved decoration was rarel) used, but rather
cabinet-makers e xploited unusual cut-out dee-
oration em the sknis ol rectangular tables, or
tops th.it were' shaped 1 « > be ornamental without
extravagance. I 'clu .itc- e.ibiieilc- legs more often
terminated in p.iel (eel than the increasingly
populat ( lew .incl lull lool
I In use ol the elicsl ol drawers design b.ised
on the Newport blockfront type demonstrates
best how ( ounce ih ut e raftsmen were able to do
cleg. int work. Newport craftsmen are best
known lor handsomely carved chests with fine
shell ornaments topping the recessed and pro-
jecting curved sections ol chests ,md secretary
desks. The design was rare outside ot Newport,
although the Did World sources of the design
may be encountered in both France and Eng-
land. T he symmetry and simplicity of the design
would relate it to the earlier Queen Anne style,
but d.ited examples .ire later and around the tunc'
ot the Revolution. I he Revolution caused sever-
al ol the Newport cabinet-makers to move to
Connecticut and the influence was easy to
establish . ["he Connecticut versions of the block-
front type are simpler. The shell at its most
elaborate in Connecticut is plainer and in one
example illustrated in the catalogue the fluted
ribs of the shell arc abbreviated into a simple row
ol gadrooning as .1 border ol the hall round tops
of the projecting and ret essed see tions.
I he high chests and c hest-Oll-chestS ol the
Queen Anne- and Chippendale styles reflected a
variety ol influences. Ihc later high chests are'
curiously American, smee fnghsh cabinet-
makers tended to favout the chest on chest, and
architectural ornament was used along with the
eabiiole legs. Although the broken pediment
was used in the more elaborate examples, ( e>n-
neelielll craftsmen Continued lo design chests
w ith flat lops and heavy cornices. Some ol the
most ink resting examples are those which have
strong Philadelphia inline nee. Fret-Work used
between the curving sides eil a pediment in a
latticework motil has been thought <>l as a
signature ol ihc Philadelphia cabinet-maker
I hennas Alllce k . se> that when it turns up in ( !on-
nccticut work a connection is sought. The Cov
nccticut version is |ust a bit simpler and it
topped by a centre finial that looks like an al
straction ot the typical Philadelphia type. T!
chcst-on-chcst was used in England as well as tl
New World and it was favoured in New Yo:
and Massachusetts. The Connecticut versions ai
sometimes ingenious modifications of the mol
elaborate designs. Pilasters that are precise an
classical when executed 111 the urban centre
became very much abbreviated in some Cot
nee tic ut interpretations, and, by making tl-
fluting go 111 a spiral instead ot straight up an"
down, the effect is impressively ornate but strii
ingly primitive.
I hc Queen Anne and Chippendale style
persisted in Connecticut until about 1S00, anc
regardless ol the degree ol elaboration, the wor
ol the local cabinet-makers was consistent i
being simple. Where ornament was used it wi*
generally endowed with a primitive quality bl
being modified to make it easier and taster t|
exec ute.
Connecticut Furniture: Seventeen iiml liighteenm
Centuries is a fine survey of Connecticut crafts-
manship. By emphasizing the most unusual am
elaborate work done by 1 abinet makers 111 Con'
ne e tu ut. the approach ol this unusual area i
made clear. I he authors have done a splendii
leib of silting through a tremendous amour)
e>l material to offci a selection thai is intercstin)
because it is good and because it captures tin
spirit of an area that may easily be mis-Ulldci
stood.
64
The American way with art
OSEPH T. BUTLER, American Editor of The Connoisseur
I Seishi figure, Japanese, wood with lacquer,
ainakura period (i 185-1333). The Newark
luseum, The Members' Fund.
Arts of Japan
AN interesting exhibition was held at the
Newark (New [ersey) Museum through
the summer and into this month of master-
pieces dI [apanese art from the museum's per-
manent collection. The exhibition is small and
spans the ninth to nineteenth centuries thus
making it a kind ot survey. However, several
important inclusions demonstrate the highest
quality in [apanese art.
Three very important sculptures are included
among examples ot early Buddhist art. They are
a wood Guardian figure ot the early Hcian
period (ninth century), .1 lacquered wood
Seishi of the Kamakura period (thirteenth-
fourteenth century) and a polychromed wood
Amida Buddha of the late Heian period (eleventh-
twelfth century). The latter is the single loan in
the exhibition being the property ot Mr. and
Mrs. Jackson Burke of New York City. Other
Buddhist subjects are shown in three silk paint-
ings spanning the thirteenth and sixteenth cen-
turies. Zen Buddhism is represented through ink
paintings mounted as hanging scrolls, hand
scrolls, and screens. The court of the seventeenth
and eighteenth centuries originated a colourful
style called Tosa which often deputed episodes
from the Tale <>/ Genji by Lady Murasaki;
screens and .1 hanging scroll in the exhibition are
excellent examples ot this style.
Later objects include prints by such important
Ukivo-c masters as Hokusai and Hiroshige, Noh
masks, nctsuke, and inro. A few fine porcelains
are included as well as textiles and stencil
patterns tor decorating textiles. This exhibition
is a good complement to a small exhibition ot
Japanese art from the permanent collection
which is currently on view at The Metropolitan
Museum of Art.
Chess: East and West, Past and Present
ON view at the Brooklyn Museum through
October 1 is the first collaborative exhibition
planned by this museum and The Metropolitan
Museum ot Art. The exhibition which deals
with the history ol chess, chessmen and boards is
borrowed completely from the collections ol
The Metropolitan. Much ot the material comes
from the Gustavus A. Pfciffer Collection at that
museum. Mr. Pfeiffer, who was tor many years
a resident ot New York City was a noted
collector ol chessmen and he was acutely in-
terested in the history ot the game.
The earliest chessmen 111 existence were
excavated at Nishapur by the Metropolitan's
Iranian Expedition 111 1940. An elephant carved
from black stone of the sixth to seventh century
is illustrative ot this type. The variety ot suc-
ceeding sets is daz/ling in its magnitude. There
are Indian sets made for both home and export
' ft .{ V ft
k
) 1 f <
f) t *
2. Mirsuoki Tosa, 1617-1691. Poet and Poem. Ink and paint on paper mounted on silk, Early Edo
period. The Newark Museum, Franklin Conklin,Jr. Endowment Fund.
OS
[
i
1
1
i
:
;
i
Maryland Queen Anne and Chippendale
Furniture of the Eighteenth Century
r The M
-
i
v
-
-
!
:
-
I
3. Chessmen, carved olive wood. German, c
ISS5. Tin Metropolitan Museum of An.
4. Chippendale style Side Chair. Annapolis.
Maryland, mahogany, c. 1770. Tht United
Suns Dtpirtmcnt of State.
M
X
1
■
'Man and His World'
in Montreal
-
5. Auguste Rodin, 184G-1917. F.tcrnel Prinnmps
Bronze, number 4 from a series of 12. Dominiot
Gallery. Montreal.
I
The French Pavilion at 'Man and His World'
;
I
I
The Dominion
Moore. ."
M
Mark Tobey Retrospective
RETROSPECTIVE exhibition of the work
" Mark Tobey was held earlier this year at
alias (Texas) Museum ot Fine Arts. It surveyed
e ion? career of one ot America's most im-
ortant living artists. It was the first Tobey
trospective organised in the Southwest United
tates and first comprehensive exhibition of the
hist's work presented in the United States
ace the Museum of Modem Art's retrospective
"1962.
The show included 127 works ranging in date
om 192 s to 1967. Every significant phase ot
obev's work was represented but the emphasis
as on the painting of the past decade. The ex-
birion was borrowed from public and private
nrces in this country and Europe and included
large number of paintings not previously ex-
bited in the United States.
Of great interest is a 1964 painting, Eclwc.< of
roadway, which was recently given to the
alias Museum by Tobey.
Mr. Merrill C. Rueppel. Director of the
'alias Museum of Fine Arts, stated in the ex-
bition catalogue :
'Seen against the background of American
ainting of the past 25 years, the work of Mark
obey stands in splendid isolation. It is generally
lodest in scale, concentrated in focus, intricate
. construction, and profound in intent . . .
'No one has a more vibrant line, more singing
)lor, more sophisticated control of the spatial
jniplexities of abstract form. He has taken the
Jligraphy of the Orient and made it the
lundarion ot his own art without becoming
•riental. He has taken the movement and color
: Seattle, the lights and vitality of Broadwav.
le imagery and mystery of the Northwest
oast Indians and woven them all into his own
brie to give torm to his own vision. He has built
is own world, and in the process, has helped
) illuminate ours.'
Tobey, who is now 78, has remained a
fplific artist. He is best known for his tempera
aintings but recent work has included large-
ale oils and a series of monotypes pulled from
xtured materials.
James Rosenquist Retrospective
THE National Galler\ ot l anada also held .1
retrospective exhibition of the works of an
American painter earlier this year but in this
instance it was a painter of a much younger
generation. lames Rosenquist, who was bom in
1933, was first exhibited at The National
Gallery ot Canada in 1963 when he was one ot a
group of 1 5 American artists who were chosen
to represent the diverse points of view and
technique.
At one point in his career Rosenquist was a
billboard painter and the influence that this has
exerted over his style is evident in many of his
works. Most of the images in his paintings are
fragmented and they are drawn from the past
decade. His flat technique executed in paint on
canvas or plastic is reminiscent of billboard art.
The immediacy of his subject matter and impact
ot the enormous visual images which he evokes
almost stun the viewer.
His enormous F 1-1 1 has recently been in-
stalled in The Metropolitan Museum of Art and
it provides a complete environment through its
exhibition. Named for the airplane by the same
name, this painting provides a devastating com-
mentary on contemporary life.
The exhibition in Ottawa came at a signific-
ant time as the National Gallery has acquired
two works by Rosenquist. Painting for the
American Segro and Capillary Action II. A hand-
some and informative catalogue has been pre-
pared by Mr. Brydon Smith who is Curator ot
Contemporary Ar: at The National Gallery ot
Canada: it was he who organised the exhibition.
8. James Rosenquist. Capillary Action So. 2.
Mixed media, 1963 (reworked 19671. The
Sational Gallery ot Canada.
Mark Tobey. Forms Follow Man. Tempera on cardboard ul. Seattle
n Museum, Eugene Fuller Memorial Collection.
7. James Rosenquist. The Lines Were Deeply Etched on the Map oj
Face. Oil on canvas, 1962. Mr. and Mrs. Robert C. Scull, Sew York.
i
The Connoisseur Index to Advertisers
Abcrcrombic & Fitch I. XXXI
Acquavolla Galleries XI
Adams Ltd., Norman Inside back cover
Allen & Unwin XXVIII
Andradc, R. & M. XXXIV
Antique Company of New York, Inc. The
Inside front cover
Arp.ul Antiques XLVIII
Asprcv <X Co. LI
B.A.D.A. XL
Bard, Michael M. LXXII
Barrett & Sons LIV
Berry-Hill Galleries LXXIV
Biggs of Maidenhead XXX
Bivall, Bernard XXXIX
Black Gallery, Bernard LIX
Bloom & Son Ltd., N. XXXII
Bluett cX Sons XXI
Bohler, [alius XX
Box No. 743 3 XXXIV
Brown, Capt. Moses LXX
Brown, Peter Mack LXXV
Bunn, Robert D. LXV
Burge, C. I'. LXXVI
Caledonian, Inc. LXXXII
Callard of London LXXII
Carriage Trade, I he LIV
Cayce, Gordon LXXI
Chelsea Antique Dealers' Fair LXXVI
Chcrnack. Harry XLVIII
Clossons LXVI1
Collet's LVI
Connoisseur — Books XL VI
Connoisseur — Next Month IV
Connoisseur — Register LVI
Corning Museum of Glass LXVI
Cox, Ralph XLVIII
Crane Arts Ltd. Lll
Crowther cX Son, T. XXIII
Dalva Bros. V
Danenberg Galleries, Bernard
I XIV. LXV
Delk. Ned L VII I
Dombey, I'. <X B. I XXVI
Drian Galleries Lll
Drown, William R. 68
Faber <X I aber I
Farrington, R. A. I II
Frodsham, Charles <S Co. LXXVI
Fry Gallery I II
Gander cX White I td. LXVI
Garbe, G. XLVIII
Canard cX Co. Ltd. XI II. XI III, I IV
Garratt Inc., Edward LXXIV
Gilbert, Rundell O. LXIV
Ginsburg is. Levy LV
Glaisher & Nash' LIII
Goddard J. & Sons Ltd. L
Grabowski Gallery I II
Greeff Fabrics Inc.' LX1I, LXIII
Green, Richard XVIa
Greer, Mrs. M. LXVIII
Gregory cX Co. Ltd. XLI
Guide Emcr LXXVI
(.unn c\ Latchford L VIII
Hall, Michael X
Hammer Galleries XII, XIII
Harris cX Sons, M. XXIX
Harvey cX Gore XXXVI, XXXVII
Harvey cX Co., W. R. XXVII
Hilton Gallery LXXVI
Hirschl cX Adlcr III
Holhorn Tableware Co. XLVIII
How of Edinburgh LIV
Hundred Antiques, The LXXII
Hunting World, The LXXX, LXXXI
International Auction Records XVI
[cremy Ltd. VIII, IX
Jessop Ltd., H. R. LXXVI
Johnson, O. <S P. XLIX
Julian LII
Kaplan Gallery I X I
Kayc Ltd., Simon XXII
Kennedy Galleries VI, XIV
Kcshishian & Sons, Mark LXX
KlinkhofF, Walter H. LX
Knoedler, Ltd. M. & Co. XXXVIII
Koetser, Leonard XVIb
Kugel LXXXVII
Levene, M. P. LXXVI
Lincoln Graphic, The XXX
Liros Gallery LX
Lowe of Loughborough XXXV
Lumley Cazalct LXXVI
Maine, Florcne LXIX
Mallett c\ Son XXII
Manhcim, I ). M. <X P. XXXVIII
Markarian, R. R. LXVI1
Mavon LXXVII
Mayorcas Ltd. I III
Mexican I ourism XLI V
Midland Antiques l .ur, Kenilworth I I\'
Moorland Gallery XVI
Neilson, Meyrick XXXIV
Newman, M. XXIV, XXV
Parkc-Bcrnet Galleries LXXX^
Paterson, Charles C. L
Peel & Co. Ltd., David XXX
Peel, Edmund LXX
Perez XXV
Phaidon Press I td.
Phillips Ltd., S.J. XX)i
Phillips c\ Harris XLI
Porter, R. E. LXX\
Pratt, Stanley J. Outside back covi
Preston Ltd., Rupert LI
Prestons Ltd. XVII, XVIII, XI
Prides of London
Rowlands Antiques LXXX
Sabin Galleries L
Sandor Inc., H. cX C.
Schiffer, Herbert F. LXX
Showcase LXX\
Shrubsole. S. [. LXXL
Silvester cX Sons, A. T. LXXV
Simons, Seal LX\
Snow & Sons, Kenneth E. LX]
Sotheby's LXXXIV, LXXXV, LXXX\
Souhami, E. B. LXX\
Speelman, Edward L
Spencer <X Sons, Henry XLVI
Spmk & Son Ltd. LXXXVI
Strassel Co., The L\
Sussel. Eugene LXP
Syndicat National des Antiquaires,
' Pans LXXVII
Tompkins, John C. R.
Tours, Galeric de
1 reasures Unlimited
I ryon ( iallerv
LXVI]
LXXlj
LXVI]
I.!
ickenham, Exhibition Marble Hill
Omell Galleries
( )'l [ana ( laller)
O'Nians, I lal
I II
X XXII
68
I louse
LXXV
Vandekar.J. cX E. D.
XL
Vercel. Felix
LXVI
Vose Galleries
LXX
Wakcficld-Sccarcc ( !al
cries
LVI
Walter (Antiques), Wi
Ham
xx\
Walton, John
LXXXII
Wartski l td.
VI
Wellby, H. S.
XXVII
Wilson <X Sharp Ltd.
XL\
Wine Antiques
LXXfi
Wine Ltd., Louis
X\
Woodlawn-in- 1 own
LXXI
Woollett & Son, Char
es
XXX\
Wrey Ltd., 1 )cnys
X>
Yeakel, Carl
XLVI
Zenke, Otto
XXXII
Hal O'Nians
Dutch • Flemish ■ Italian Masters
6 RYDER STREET. ST. JAMES'S, LONDON, S.W.I
WHItchall 9392
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It //■//
43 H^oro SS/>e*/. l/o>„/</t "///
Hyde Park 47 1 1
G/^n exceptionally fine oval Hepplewhite library ^)le
in finely figured mahogany, the top lined in fadeJ&ed
leather. The table retains its unusual original haAles.
Circa 1785. S*
Length: 60 inches
Width: 48 inches I
Height: 30 inches /
8-10 HANS ROAD. KNIGHTSBRIDGE, LONDON. S.W. 3
Telephone: 01-589 5266/7
Members of The British Antique Dealers Association
Mr. Norman Adams will be pleased, by appointment, to discuss and advise on investment or other matters relating
antiques and works of art. i
to
m
The Antique Company of New York, Inc.
The Antique Porcelain Co.
Works of Art
Date: before 1730
PAGODA modelled by Goorg Fritzschc
Height : S inches
A probably unique Pair of CANDLESTICKS
mounted with Ormolu
Height: 12] inches
4S East 57th Street. I49 xew Bond St
New York, X.Y. 10022 London. W.i
Tclc?hcw: /5S-2363 _ . , .
Taephome: h lAi fair l-5t
Czi.c:: A?.-c;y::k. N; .v '"i crk
T-.7 ■>->a«^A a_~_»- C^-.cj. .\doco, LoodoaB
jrides of London u
The Connoisseur
OCTOBER 1968
Vol. 169 No. 680
American banking and Georgian elegance
The Abbey of St. Gall and its library. Part 2
Alfred Gilbert: a new assessment, Part 2
Solomon Caesar Malan, artist, scholar, theologian
The Times-Sotheby Index: 1 Impressionist Pictures
In the galleries
Art in the modern manner
Continental I )ispatch
Henry Moore: a 1968 assessment
Art news in pictures
International Salerooms
Books Reviewed
Books Received
The American Connoisseur
Urbanit) and Vcrism — The late period in Boston
Savannah Furniture and Cabinetmakers
The American way with art
C) October 1968. National Magazine Company Limited
CLIFFORD MUSGRAVF.
WALTER DF SAOER
I A V I N I A 1IANDLEY-READ
PHILIP T R A L B
GERALDINE KEEN
A D RI AN B L R Y
ALASTAIR CORDON
GERALD SCHURR
I O H N I IT/MAURICE MILLS
EDWARD 1 . IS . TERRA C E
CHARLTON M. THEUS
JOSEPH T . BUTLER
Cover
Meissen Brazilian vulture, modi lied by |ohan [oachim Kaendler, 1734, 27 inches high, on ormolu
stand. In the possession of the Antique Company ot New York, Inc. 48 East s?th Street, New York
N. Y. 10022 United States of America.
Colour Plates
American Banking and ( leorgian elegance: 1 he Vice-President's Otfice, 1 he Banking 1 1 . 1 1 1
I he Abbey of St. ( i.tll and its librarv : "I lie initial letter (V from the Polchard Psalter
I lenry Moore: Standing figure (knife-edge)
Urbanity and Verism: Electrum sphinx, gold head of a goddess, I he Boston Green Head, Yellow
faience pectoral. Gold vulture s head, Gold ring with lapis la/uli, Gold ring with insciiption, Gold
necklac e. Mosaic glass platjltc
69
78
85
92
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IO4
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I OS
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Important Loan Exhibition / October 24 • November 30
For the bene fit of the Lenox Hill Hospital
FOUR MASTERS
OF IMPRESSIONISM
Monet Pissarro Renoir Sisley
Complete Catalogue A rail able
Text by Francois Daulte • 70 Color Illustrations • $5.50
Monet • " Voilier a ArgenteuU" Loaned by Mr. <{'• Mrs. Norton Simon
ACQUAVELLA GALLERIES, INC.
IS East 7 nth Stree. N. Y. • RE4-6300
The Connoisseur
November 1968
12s 6d
$2.50 U.S.A.
Our contributors in this
issue include:
Lavinia handley-read : An expert on the sculptors
of the later Victorian period.
fOHN FITZMAURICE mii.ls: Fellow of the Inter-
national Institute for the Conservation of Historic
and Artistic Works.
CLIFFORD MUSGRAVE: Formerly Director of the
Museum and Art Gallery and Royal Pavilion,
Brighton.
EDWARO L. B. terrace: Associate Curator, De-
partment of Egyptian Art, Boston Museum of
Fine Arts.
Next I
month in I
The Connoisseul
The November issue will include
Florentine jewels by Yvonne Hackenbroch. Sixteenth-centJB
jewelled pendants related to the designs of Bernardo Buq-fi
talenti.
Alfred Gilbert : a new assessment by Lavinia Handley-Rell
His later life, troubles and sculptures described in the lfl
of a series of three articles.
An old house restored by Alec Clifton-Taylor. How a decayiH
village shop in Essex unexpectedly concealed a gracioH
Tudor house.
The remarkable story of the Bauhaus by William Gaunt, i
Exhibition at the Royal Academy in London provides
opportunity for a survey of its influence on 20th centu
design.
English Walercolours in Warrington by Denis Thomas. T
collection of a municipal art gallery enriched through t
interest of a local industrialist.
Palissy ware in the Metropolitan Museum by Carl Christii
Dauterman. The museum's collection embraces virtual
every type of ware associated with the name of Bernai
Palissy.
French Bronzes in New York by F. J. B. Watson. A major eJ
hibition including examples from museums and priva
collections in Europe and America.
Old master prints : The Timcs-Soiheby Index 2, by Geraldir!
Keen. Price movements in the international art market sim
1951.
i; m
HTEENTH CENTURY FRENCH FURNITURE AND WORKS OF ART
44 EAST 57th STREET. NEW YORK, N. Y. 10022
TELEPHONE PLAZA 8-2297
An extraordinary small Louis XV Table Anibulante. The very fine
marquetry is comprised of panels of beautifully designed flowers on the
suu with a magnificent pastoral scene executed in exquisite detail mi the
top. Thi marvelous piece of craftsmanship is attributed to Pierre Roussel.
Also shown, . fine gilded Louis XVI voyeuse by J. 13. Boulard.
24 ST. JAMES'S STREET, LONDON, S.W.I
Telephone: 01-839 3871 Telegrams: RESTAFF, LONDON
BY APPOINTMENT
ANTIQUE DEALER
TO H.M. QUEEN
ELIZABETH THE
QUEEN MOTHER
BY APPOINTMENT
ANTIQUE DEALPR
TO THE LATE
Ql'FFN MARY
c%^re &ig£u.fv and Co)itinenta£ ofi£ver. r^JUniaIa^t6.
cjfntique ^eu>e&), &Uie o//iu^ Saxes
A good X V 1 1 1 Century German Silver-gilt ewer
bv Ludwig Schneider. Augsburg 1723/35. Height in.
An example from our collation o\ Antique Continental Silver.
I a/nations for Probate, Insurance am Division
Telephone: 01-639 6261 Telegraphic Address "Euclase, London IV. I"
J
255 KING'S RO
Telephone: FLAxman 0644
FLAxman 3127
Members of
FINEST F
We sh
thankii
shown 1
Dealers
Portrait busts were the great achievement of sculptu:
the eighteenth century in France. This can be seen in H
sculptures, where his greatest successes are his portraits of
and children showing a psychological understanding in
pleasing form.
French: last quarter 18th century A charming Louis X
period plaster bust of a young girl, her head looking to t
right. Her lace bonnet and corsage being typical of the perk
Dimensions: Maximum Width: 9 in.
Depth: 6 in.
Height: 14^ in.
We acquire through enterprise with discrimination
We restore through expertise to perfection
>NDON, S.W3
.ables: jeremique, London, s.w.3
lociation Ltd.
URNITURE
unity of
interest
Antique
mier is defined by Littre as 'a piece of furniture with
which women put away their needlework, cuttings of
have been popular in France from the middle of the
century onwards.
last quarter of the 18th century. An elegant Louis
:iod Chiffonier executed in fiddle-back Cuban
)m: Maximum Width: 3 1 V in.
Depdi: 16 in.
Height: 50 in.
W reciation
We discuss with knowledge for elucidation
We sell with confidence for good-will
FINE FURNISHINGS
Q xamples of earlv American Sculpture
are few. This striking life-size terra-
cotta bust of General Washington may
possibly have been made shortly after
the Revolution. This example, evident-
ly made by the same hand as the one at
the Shelburne Museum was found in
Trenton, New jersev, circa 1 "80- 1810.
HSR
SANDOR
LAMBERT VILLE. NEW" JERSEY OS53II
TEL. (609) 397-0597
Handsome antique 18th century. English tall
case, quarter column clock. Black lacquer, with
red and gold chinoiserie design. 90 inches high,
clock in running condition. Name and town on
clock face not legible. Price $1850.01).
562 LINCOLN AVENUE WINNETKA. ILLINOIS
HILLCREST 6-0912
X
RICHARD GREEN (FINE PAINTINGS)
Member of The British Antique Dealers' Association
Spaniel in a landscape
GEORGE STUBBS, A.R.A. (1724-1806) Signed. On panel 15 x 21 in.
This picture is to be included in
Annual Exhibition
of
SPORTING PAINTINGS
also works by:
H. ALKEN, Snr., H. HALL, A. J. MUNNINGS, P.P.R.A.,
R. ANSDELL, R.A., J. F. HERRING, Snr., W. J. SHAYER,
J. FERNELEY, G. MORLAND, J. WARD, R.A.
3rd October - 26th October
All paintings in this Exhibition are for Sale.
Illustrated catalogue 5s. on request in aid of the Injured National Hunt Jockeys Fund.
Daily 10 a.r.. ' p.m. Sats. 10 a.m. to 12.30 p.m.
36 DOVER STREET, LONDON W. I Telephone: 01-493 7997
DAY IS DONE Watcrcolor on paper, 1 3 j 191 in.
Signed and dated (al lower right) : HOMER 1878
WINSLOW HOMER
(1836-1910)
Four major works
by one of America's greatest artists
iiii!.si:iiu*yirn
v — / f'J ft ix- .
Gallery Hours: Tues. -Sat. 9:30-5 30 (• ^jr ?1 E 67th St ■ NY100?1 • IE5-8810
■ WM
B< )YS SITTING ( )N A DOCK
Ink and watercolor on paper, 6' 10$ in.
Signed (at lower tight) : W. 1 i.
Executed about 1873
E SHARPSHO< )TER
>n canvas, 17 • 13 in.
ed and dated (at lower K it): HOMER 66
ibited : Corcoran Gallery of Art, Washington, I >.( '■. and
teum of Fine Arts, Boston. 1 '.Hi 1-62
Civil War: The Artist's Record, No. 83
oil. Fran< is P. Garvan
"CEZANNESQUE" SUMMER LANDSCAPE WITH BATHERS
Signed E. LAWSON
Oils on Canvas. 20 ' 24 . EARLY PERIOD
From the collection of '"A.G."
Our new bonk now a\ailable
'ERNEST LAWSON— AMERICAN IMPRESSIONIST'
1 1 837- 1 939 1
Limited Edition of 600 copies - ^30.
Fully Illustrated - 6 color plates
BERRY-HILL GALLERIES
743 FIFTH \Y
PLaza 3-8130
NEW YORK. 10022
('aMes: Berr\hill New York
An exceptionally rare and beautiful 'Mille-flcurs' OUDENARDE Tapestry (f. 1525).
The garlanded Oudenarde Crest is centred on a Wlille-rleurs' field of blue-green
with shades of rose and buff, shewing various animals, birds and mythical beasts.
Measuring: 6 ft. 11 in. high 6 ft. 9 in. wide (2.07 m. 2.02 m.).
vide: H. Gobel, Vol. IV, p. 286; illus. p. 251.
Similar examples at Angers Cathedral, France:
Grunthuise, Bruges, Belgium.
E> ollection: Dr. Oelze, Amsterdam.
Mayor cas Ltd
*r Member of he BADA Ltd
38 Jermyn Street St. James's London S.W.I Telephone: 01-629 4195
VENARD
SINICKI
EPKO
BOUYSSOU
YANKEL
exclusively icith
TAURELLE
MOTTET
GALERIE
WRCEL
710 MADISON AVENUE at 63rd • TE 2-9590
PARIS NEW YORK
Permanent exhibition of works by
CHAGALL • BRAQUE • PICASSO • RENOIR • ITRILLO • VLAMINCK
VALTAT • VAN DONGEN • CAMOIN • R. DUFY • J. DEFY
VUILLARD • SEGONZAC • GROMAIRE • GUILLALMIN • LAURENCIN
LEBASQUE • LEBOURG • LHOTE • LOISEAU • LUCE • MARQUET
MARTIN • MA I ERA • MONTEZIN • ST. DELIS • SIGNAC • D'ESPAGNAT
Largest Selection of Signed Lithographs by All the Masters and our Own Exclusive Artists
C. T. LOO & C
I he ( "onnoisscur, < >ctobcr, 100H
XVI
Marble seated figure of Kuan Yin.
Dated 827 A.D. Tang dynasty. Height 22\ in.
112 Mount Street /^T)
D
londou wi o Ddrim
Telephone: 01-499 2858 OF MOUNT STREET LTD
Cables: BARGRO, London, W.l LON DON
EARLY Fl RMTURE- ORILXT H. I XI) EUROPE / \ WORKS OF ART
8
established 1876
The Fine Art Society Ltd
148 New Bond Street London Wl
telephone 01 629 51 16
cables Finart London Wl
British Sculpture
I 85O- I 9 I 4 and medals
A loan exhibition Diesented
1
under the auspices ol
The Victorian Society
September 30 - October 30, 1968
9.30-5.30 Sats. 10 -Noon
I lit ( ,'haiiit dCircle oj \ auth
by Esther M. Mum,
A rare French Louis XV furniture
with original upholstery consisting ol :
1 canape and \ chairs
Experl opinion "I M. Auclair, Expert pres le Tribunal Civil de la Seine, Chef des Ateliers
de Rentraiture de la Manufacture National des Gobelins.
'The condition of this furniture is extraordinary, the red tones
have preserved an intensity and vigour rarely remembered . .'
Hans SOKOLOWSKI, Jungfrugatan 62, Stockholm NO - Sweden
I ]li I 1 >(iii > ' 111. 1 U I < >l
Will
CROWTHER & SON
ROWTHER a SON LTD
2 NORTH END ROAD, FULHAM SW6
EPHONE: 01-385 1375/7
3LES: ANTIQUITY, LONDON
se note: We close at 1 p.m. on Saturdays
A mid 1 8th Century finely carved pinewood chimneypiece.
Removed from Swinburn Castle, Northumberland.
Length of shelf 5 ft. 8 ins.
Total height 5 ft. 0 ins.
Opening width 4 ft. 9 ins.
Opening height 3 ft. 1 0 ins.
A
-
XIX
CHARLES WOOLLETT & SON
Members of B.A.D.A.
Established 188°
Kare
,,i.k,
and elaborate pair of Antique Bow ('amllc-lii k (Jroups of Mar* and Venus on scroll bases
I mil in puce with urns ol Bowers to one side, each accompanied by a figure of Cupid. Kx-
tremely rare candlestick holders in the shape of flowers. I \\ ins. high.
59/61 WIGMORE STREET W.I
Telephone: WELbeck 8664
JULIUS BOHLER
OLD MASTER PAINTINGS
SCULPTURE ANTIQUES
MUNICH
Bricnncrstr. 25
I I I l PHONE: MUNICH 55 15 29
TEL. ADDRI SS: P AINTINGS
rhc < ontHijsscur, October, r«X»S
9V2 inch plate, from the service of George Washington
with the Order of the Cincinnati. Circa 1786.
JECT TO PRIOR SALE
ELINOE GOBDON
ORIENTAL LOWESTOFT • 812 LANCASTER PIKE • VILLANOVA, PENNSVLVANIA • (215) LA 5-0981
Mi\th ANNIVERSARY LOAN
EXHIBITION (1928-196
MASTER WORKS OF
THE 19th AND 20th CENTURY
From November 7, through
December 7, 1968
Illustrated Catalogue (50 colour plates) .
Available for *5.00. postage paid.
For the benefit of the Girl Scout Council
of Greater New York. Inc.
HnmmER galleries
51 East 57th Street
New York, N.Y. 1
Telephone:
Plaza 8-0410
Cable ad
Hammerga
Signed and dated Oil on canvas
Lower left : Fantin '83 2H ■ 24|
PAVOTS DANS UN VASE BR UN
by
HENRI FANTIN -LATOUR
(1836-1 904)
MASTERWORKS OF THE 19th and 20th CENTURIES
HflmiTIER GALLERIES Inc.
51 East 57th Street New York, N.Y. 10022
Telephone: Cable address:
Plaza 8-04I0 Hammergall, N.Y.
XXIII
18 7 — .
\VA L LY II 9 GA L L E R I E S
N E \V YORK
CHICAGO
if •
PALM BEACH
CAMILLE PISSARRO
XIX AND XX CENTURY FRENCH MASTERS
■
-
BY APPOINTMENT
DEALEP5 I N ANTIQUE FURNITURE AS'D WORKS OF ART
TO THE LATE QUEEN MARY
M. Harris & Sons
CENTENARY YEAR
Two of a set of fourteen Sheraton carved mahogany Chair- comprising twelve single and two elbow chairs ). England, circa 1790.
CENTENARY BOOK containing 136 illustrations.
Price 60/- nett, or 64/- including postage and handling charges
(or equivalent in convertible currency).
44I52 New OxFor Street, Londox W.C.J
Telephone: 01-636 2121 Telegrams: Artisonne London WC1
XXY
LIMITED
Members of The British Antique Dealers Association
Works of Art Period Furniture Export Restoration of Antiques
Tu o cxl rcmely fine
examples of late litili
( leal ur\ crafl smanship:
The circular inlaid Tea
Table being <>l I hi i eli
origin and I lie marque! r\
cen! re I aide being English
in I lie French lash'.
Telephone 01 235 1813/14
45 SLOANE STREET LONDON S.W.I
Cables: DENYSANT LONDON S.W.I
HARTNOLL & EYRE announce the opening of
their Gallery at 39 Duke Street, St. James's S.W.i.
Catalogue 1. fully illustrated, including drawing and paintings by
the following artists is available on request:
( lalvei 1
( lourbcl
( Irane
I )avid
1 )cla< toix
Simeon Solomon.
1857.
I'i n ami nil, .
7 4.
de Morgan
I )e\ cria
Doyle
Fantin-1 .atom
I .('\\ is
Pu\ 1 s de < !ha\ annes
Sandys
Siddal
Solomon
VVyalville
HARTNOLL & EYRE Ltd.
39 Duke Street. St. James's
London S.W. 1 .
Telephone < > 1 -931 1 93! »«'!
I lit ( i>mioiv.air, < >i lolx-r. K/iX
XXVI
PRESTON S LIMITED
ESTABLISHED 1869
Member of the British Antique Dealers' Association
JAMES II SILVER
London 16X5.
maker D. B. (Jackson pg. 142).
Weight 26.1 ozs.
Diameter I2f inches.
DEANSGATE • BOLTON • LANCASHIRE •
aisoat 91 MOUNT STREET LONDON W.1 tel: 01-499 7644
AND AT 30 AVENUE ROAD ■ TORONTO 5 • CANADA Tel: 920-5157
X XVII
WILLIAM WALTER ANTIQUES
GEORGE III
ANTIQUE SILVER
FOUR-BRANCH
EPERGNE
HEIGHT 121 in.
DATE: 1809
MADE BY
MATTHEW BOULTON
LONDON SILVLR VAULTS • CHANCLRY LANE
LONDON
Telephone: 01-242 3248/9
W.C.2 Telegrams: Walter Silvavults London W.C.2
11V Al'I'OIN IMI NI AN I li.il I DEALERS TO Till LATE QUEEN MAHV
MALLETT
MM 11-11 c\ S( )N (ANTIQUES) I IT >.. 40 NLW Hi INK s I Hi 1 I . I ON I >i >N W.I. I I.I Ll'l l( >NI 01-499 741 I I INI-.S)
( AMI I S: \l \l I I I 1 SI )N I ONDON W.I. AND AT Hi H 'Kl )l >N Hi )USh, 2 DAVIES STREET, I.ONIH )N W.l
A well designed tinil qood
quality carved wood and ^ili
Chippendale overmantel
lookino olass, with acan-
thus scrolls (iml i in win he.
Length:
Height:
1 It. 7 in-
2 ft. 8 in.
I In I i iiissi 1 1 1 . ( ). UiIh i . I'/tD
XXVIII
CHARLES TOWNE
1763 - 1840
Oil on canvas - Size 19*
JOHN MITCHELL & SON
8 NEW BOND STREET LONDON Wl
Telephone: HYDe park 7567
HARVEY & GORE
6 blue Boa* w
■/^ 1720. H"*A
■i c
Tel. 01-493 2714 Cables: Bl.UBOR LONDON VV.1
"e O
i-d Shop
ELIZABETH I
4 Burlin ston Garden*
I\ !<■ .mil ext reineh fine I Ji/.ibetliiin Silvei uilt Gourd ( up unil eo\ cr. LONDON KiOd. Milker's mark .i bum li of -rnipcs. Full) nu
< n i both ( 1 1 1 1 .hkI eover.
Overall hei/rlil : I 1 \ nu lies.
This bronze group 'Oreithyia carried by Boreas' after the marble sculpted by Gaspard Marsy (1624-1681) and
Ansel me Flamand ( 1 647 171 7) for the Gardens of Versailles will be featured at the Exhibition "Bronzes Francois
de 1500 a 1800" organised by the Gallery Knoedler, New York, throughout the month of November 1968.
(Last quarter of XVIIth Century, Height 97 cm.)
42 JtVEJQJE KLEKET^- 714^1 S /US 07-67
. . i
XXXI
Small weight driven regulator table clock,
eight day with duplex escapement by M. J.
Borrell, 19 Wilderness Row, London, in
satinwood case. Circa 1H20. Height 16' in.,
width 6; in. depth 6j in.
Eight day striking clock by Samuel Vw'hichcotei
London. Circa 1750. The movement with original
verge strike silent, broken arch and apertures for
calendar and verge. Height 18 in., width 10s in.,
depth 74 in.
BIGGS
oj
MAIDLXHHAD
ESTABLISHED: 1866
()\ KR 100 YE
OF FINE DEALING
OPEN ALL 1 )AY
INCLUDING SATURDAYS
CLOSED MONDAYS
26. 28, 30, 32 HIGH STREET MAIDENHEAD BERKSHIRE TELEPHONE: 26363 4 STD :OM As
^ <- v v"* rj* *»* *
at/ie& a tit/ t_ya/ieJ fa ted
Daghestan 4 ft. 7 in. 3 ft. 10 in.
Rcf: 53773
Antique and Old Oriental Carpets
, el
HOI ( JIT - SOLD - EXCHAXGED.
Perez
112 BROMPTON ROAD, S.W.3
Telephone 01-589 4411 (3 lines)
Telegraphic Address CARPEREZET
also PARK STREET, BRISTOL and
AMSTERDAM
XXXII
QUEEN ANNE SILVER GILT
Ewer
London 1702-3 by Pierre Platel
Weight: 33 cvs. Height: <H in.
Hall marked on bodv and foot.
from the Collection of
LOUIS WINE D<i-
Established 1840
Fine Art Dealers, Jewellers and Silversmiths Tel Dublin 77386'
31 & 32 GRAL 1 ON STREET, DUBLIN
XXXIII
)air of exceptionally fine 18th century secretaire china cabinets of circa
0 with chased gilt metal mounts. These cabinets are closely associated
h a commode bearing the same metal mounts in the collection at Nostell
Dry which was supplied by Thomas Chippendale in 1770.
ight 7 ft. 5 in. Width 4 ft. 1 in.
RONALD A. LEE
R. A. Lee
5 Bruton Place
•ndon W.l
L 01-629 5600
01-499 6266
R. T. Gwvuu
The Manor House
Byfleet, Surrey
Tel Byfleet 43346
(BY API ;;-ITMENT)
THE BRITISH ANTIQUE
DEALERS' ASSOCIATION
During the jubilee Year we shall be illustrating Works of Art acquired
through members of the Association which have enriched Museum
Collections throughout the world.
THE ROYAL PAVILION, BRIGHTON
This magnificent pianoforte is in rosewood with a sumptuous
decoration ol brass inlay and finely chiselled ormolu mounts.
The design on the sides, with c lassical dancing figures, is
reminiscent of Daniel Marot exemplifying the French revival,
in this c.isc of the Boulle style, in Regency furniture. The in-
scription mi the folding keyboard is that <>l Isaac Henry Moll
of the firm of C. Mott & ( !o. of 92 Pall Mall. It can be dated to
1 8 1 7, or soon alter, by the emphasis on the 'Sostenente1 action
which the firm introduced and patented in that year.
lis important pi. ice in the R< lyal Pavilii >n c< illectit in is owed
to two factors. A similar pianoforte, now at Buckingham
Palace, w as made for the Prince Regent and is shown in Pugin's
view ol the North Drawing Room. Furthermore, the maker
Isaac Henry Molt (born 1790, died 1855) was a resident of
Brighton, was a musician himself, played in the King's band
and accompanied (Jcorgc IV when he performed on the
violoni ello.
from information supplied by a descendant of the family,
who is wiiimg on the subject, ii is learned that only seven ol these instruments w<
i ei 1 1 n n a I innovations and rich decoration l his example, presented by a member of Tl
1952, eloquently proclaims ihe exuberant later years of the Regency, the heyday o
ic made,
ii' l>i itish
f ihe pal.
I n its super
Antique I )c;
ice now pri\
I) win Kin,
ilers' Assi
ileeed to
insliip. it;
>ciation ir
])( issess it,
2o RUTLAND GATE, LONDON S.W.7
111- t itiitii tiwrtir, 1 >< U »Ih*i m/iN
4128
XXXVI
Bv Appointment
to H.M. Queen Elizabeth
The Queen Mother
Bv Appointment
to H.M. Queen Elizabeth II
Jewell,, i
By Appointment
to the late Queen Alary
TABLISHED: 1865
138 REGENT STREET, LONDON W.l
AND AT LLANDUDNO
i INTERESTING PAIR OF WELLINGTON SNUFF-BOXES
nuff-boxes designed as books. The lacquer panels
I i pique d'or simulating leather binding are of early
origin. The box mounts themselves in chased, engraved
ed gold by P. A. Montauban, Quai des Orfevres No. 54.
sting boxes were presented to Colonel Gurwood, Secretary
'uke in recognition of his work compiling the Waterloo
Within the cover of one of the gold lined boxes is engraved
* inscription :
jurwood from
Bridge of the
'orset. As a
f his feelings
egard and of
:br his
of The Dispatches
shall The Duke of
fully marked
itauban.
9.
'<h x !i inches.
2] (3 inches.
Colonel John Gurwood, C.B.
>a nted in 1837 by James Hall
A marble portrait bust of Colonel Gurwood
by Samuel Joseph (d. 1850) signed and dated
1840.
Wellington Museum, Aspley House.
The Duke of Wellington with Colonel Gur
wood, discussing the Waterloo Dispatches
Painting in the Wallace Collection by A
Morton (1802-1845).
LEONARD KOETSER GALLEL
AUTUMN EXHIBITION
of
FINE DUTCH, FLEMISH
and
ITALIAN OLD MASTER PAINTINGS
Flower Paintings, Still Lifes, Landscapes, etc.
Philips Wouvcrmans Paulus Potter Jan van Coven
Jan Brueghel de Velours Balthasar van der Ast Jan van de Capelle
Picter Clacsz Adrian van der I'elde Gabriel Metsu
Albert Cuyp Adam Pvnacker David leniers
Aert van der Necr Hubert van Ravesteyn Cornells de Vos
Herri Met de Bles Moses van Uvterbroeck Jan van kessel
Pieter Neefs Jan Both Jan Asselyn, etc., etc.
4th October - ioth December, 1968
13 Duke Street, St. James's, London S.W. 1
Illustrated Telephone:
Catalogue 5 - (" 930 934^/
I h> < unnoiweur, October, Iy08
XXXVIII
WYBRAND-SIMONSZ DE GEEST ' Leewarden-1659)
Portrait of a Young Child. Panel, 30^ by 23^ inches (7S by 58 -7 cm.)
The painting is inscribed with the age of the sitter, nine months, and dated 161 2.
Provenance :
Collection: G. Young, Est].
Exhibited: Groningen Museum, Holland, 1967.
-
S
z
5 C/l
<
c
c
2
1
C
q
u.
0-
I he ( iniiviiswiir, i »< IoIht, i</>8
, A LA VIEILLE RUSSIE
ESTABLISHED 1B1I
781 FIFTH AVENUE. NEW YORK. N. Y. 10022 • PLaza 2-1727
chez JANSEN, 9 RUE ROYALE. PARIS 8e • 265-64-52
We take pleasure
in announcing
an Exhibition on
The Art of the Goldsmith
and the jeweler
for the benefit of the
Young Women's
Christian Association
of the City of New York
to be held in our
New York Galleries
from the 8th to the 23rd of November
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§ SIMON KAYE ltd
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□ 1b ALBEMARLE ST PICCADILLY LONDON W.l hyde park 7658 and 5152
□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□a
SWEDISH
SILVER SOUP TUREEN
AND COVER
Date: 1752
Stockholm
Maker: Petter Lund
Weight: 82 8
Length : 1 1 in.
Width: 8 in.
Height: 1 H in.
Height to tip of handle: 13J in.
GREGORY & CO.
(liliUTON STREET) IT I >.
hsTALil 1SHEI) 1823
ANTIQUES
FURNITURE
U PHOLSTER V
CURTAINS
GARRET S
CHANDELIERS
DESIGNS & SCHEMES
BOA R T> R O O A7 S
DIRECTORS' SUITES
DECORATIONS
ELECTRICAL WORKS
II E A TING
V A I U AT ION
Two of .1 set of seven I Icpplewhitc mahogany dining chairs comprising five single
and two arms, of an elegant design and a good colour, c. f 7 S S .
27 BRUTON ST., BERKELEY SQUARE, LONDON, W.i
Telephone: Mayfair 2<,)o8/<j)/o, 2066 Telegrams: Grcgco, Wcsdo 1 1
flic < 1 mm >i .nil , < >< t< ilu-r, r'/'S
\! II
J\.n unusual Chippendale
mahogany centre table,
one drawer at each end
with original handles.
Fretted corner brackets.
Fine light brown color. A
rare and unusual piece.
Circa 1760.
Height 31", width 47",
depth 23".
Wakefield-Scearce Galleries
DIRECT IMPORTERS
FRANCHISED DEALERS FOR DOUGHTY AND BOEHM BIRDS AND CYBIS PORCELAINS
(We welcome your requests for specific models)
Member of the Art and Antique Dealers League of America, Inc.
Open every day .9 a.m. -5 p.m. Closed Sundays. Telephone: 1502) ME 3-4382
Visit oar Subterranean Silver Vault
HISTORIC SCIENCE HILL, SHELBYVILLE, KENTUCKY
on BOTH main roads (U.S. 60 and 1-64) between Louisville and Lexington
STUART WALSTOtl
INC.
INTERIORS & A \ I lot I s
[8th Century revolving bookstand
i8th Century Chippendale sidechair
Celestial globe r. 1820
417 WEST NASH STREET, U II. ON, N.C. 27S94 AREA CODE 919 243-4940
MICHEL de GALLARD
Anemones
/.V 15 inches
Recent Paintings
by
MICHEL
de GALLARD
October 3 -November 2, 1968
LEFEVRE
SPECIALISTS IN 1 INI XIX & XX CENTURY
FRI NCH PAINTINGS, DRAW I Mis AND BRONZES
ALEX REID & LEFEVRE LTD
jo BRUTON STREET, LONDON Wi
felephone oi-h^j 11^0. Cables Drawings London Wi
* * + + + + + +
American
Art Nouveau Glass
by Albert Christian Revi
Collectors rejoice! Here at last is the definitive
account of Louis Tiffany and other creators of
American art nouveau glassware and of their
famous objets d'art by a leading authority.
Sumptuously illustrated with color and black-
and-white photographs.
At your bookstore $20.00
THOMAS NELSON & SONS
Copewood and Davis Streets, Camden. N.J. 08103
Chinese Snuff Bottles a Specialty
Exceptionally fine Lac Burgaute with original matching
stopper. Signed. Carved teak stand. Height 2} in.
Black Hair Crystal with excellent distribution of the
rutile hairs also on the reverse. Green collared coral
stopper. Turned rosewood stand. Height 3^ in.
1 8th Century Iron with silver inlay, the reverse having
the same design. Original matching stopper. Carved
teak stand. Height 2? in.
The heights given include the height of the stand.
" *7Kia$- *?€iOi
MAINLAND, PENNSYLVANIA I945I
(19 mi. from Phila. at Lansdale Exit of Pa. N.E. Extension)
By appointment only. Phone (2I5) 723-3949
The Connoisseur, October, I9<58
XI IV
i BY APPOINTMENT TO HER MAJESTY THE QUEEN, GOLDSMITHS AND CROWN JEWELLERS, GARRARD AND COMPANY LIMITED, LONDON
GAR RAR D
The Crown Jewellers
8-day Ebony Veneered Bracket Clock by George Graham
with pull quarter repeater. Back plate numbered 615.
Approx. 1710. This fine clock is one example from the
interesting collection at present in our showrooms.
JULIAN
XVI-XX Century Works of Art in bronze and other media
A I'AIK OF CE-.NTAURS
I ).irk black patinated bronze figures, on
contemporary bases, of superb modelling
and finish. I lie only other recorded
variantc, in the National Museum in
Stockholm, arc discussed and reproduced
by Wcihr.iuch (1-nropaisclic bron:c-
Statuetleii, ]ahrhundert, 1967,
p. 432; fig. jij A and H). where they
are attributed to Giacomo, or Giovanni
Zoffoli (1745-1785) and arc reduced and
exact reproductions ol the original
antiques; in the versions here reproduced
the supporting tree trunks arc omitted
and the symbols of the God Pan are cast
in one piece with the bases of the figures.
I (eight : 2 1 inches Length : 1 .
he
I )
LONDON S.W.10
FLA 4400 and 3243
1 LAIUjWS UAI.LERY
AUTUMN EXHIBITIOA
19th. and 20th. century British
School WATERCOLOURS
including. Stark, Pocock, Holland,
Brabazon, Lear, and Meninsky.
Also a small group of 20th. century
OIL PAINTINGS of FLOWERS
including Nicholson, Clausen,
Redpath and Duncan Grant.
9th.Oct.-8th.Nov.
1968
Richard McDougall
s CLARCLS STUF.LT, LONDON, Wi.
FRANCES HODGKINS 1870-194?
La Plage, Concamcau. Watcrcolour i~| "x n\" . Signed
Telephone 01-629 3715
Gallery open: 10 1i.111.-5.j0 /'•"'■ Monday to Friday. to a.m. - 12. jo p.m. Saturday during this Exhibition.
I Ik ( onnnisscur, Octolicr, I96H
XI VI
EXHIBITION
THE INFLUENCE OF CROME
(IN EAST ANGLIA)
October 23rd to November 15th
Including pictures by:
John Sell Cotman, James Shirk, George Vincent, Joseph Stannard, J. B. Ladbrookc,
Henry Bright, Li. R. Smythe, l oin Smythe, and many others.
OSCAR AND PETER JOHNSON LIMITED
LOWNDJ S LODGE GALLERY.
27 LOWNDES STREET.
LONDON, s.w. 1 .
Telephone: 01-235 6464/5 (opposite Carlton lower H iti-1) Cables: ARTCOS. LONDON, S.\X 1
A finely engraved 1 Hitch silver basket
DEN HAAG, 1786 bv Pieter van der foorn
}9 cm. loim. ?2 oz.
H. S. WELLBY
Antique English and Continental Silver
16c Grafton Street, London, W.i
Telephone: Hyde Park 1597
BEAUCHAMP GALLERIES
Mic Connoisseur, October, iyoh
XI VIII
KAPLAN GALLERY
AN EXHIBITION OF PAINTINGS BY
ERNEST RENOUX
1863-1932
OCTOBER 9th - NOVEMBER 2nd .968
DAILY 10 - 6 SATURDAYS io - 1
Illustrated Catalogue available on request 2/6A.
In aid of the Imperial Cancer Research Fund
6 DUKE STREET ST. JAMES'S LONDON S.W.i
OI-930 8665"
EXHIBITION of fine
OLD MASTER PAINTINGS
Weekdays 10.0 a.m. - c.}o p.m. Saturdays 10.0 a.m. - i.ojm,
October ioth - December
BRIAN KOETSER GALLERY
38 DUKE STREET, ST. JAMES'S, LONDON S.W.I
EXHIBITION including examples of paintings by F. van
Valkenborgh, William van Mieris, David Teniers, Isaac Ostade, Jodocus de
Momper, P. van de Velde, Nicholas Maes, Peter Steenwyck, C. Verelst,
Thiabald Michau, Lacroix de Marseille, Philip Wouwerman, T. Wyck,
M. Miereveldt.
JORIS VAN DER HAGEN 1620-1669 Still Life with Wine Glass and Fruit Panel 25 ■ i8$in. (63.5 < 47.3 cm.)
5RIAN KOETSER GALLERY, ?8 DUKE STREET, ST. JAMES'S, LONDON S.W
01-930 6309
JOSEPH & EARLE D. VANDEKAR
138 BROMPTON ROAD, LONDON SW3 Tel: 01-589 8481
I riique ;jimI unrecorded pair of Chinese <-\ |i«>rl porcelain figure* of Europeans in full [''aniille-Rose, laken from ;i Gcrinnn Tliuringia
original. ( Iiin Ching period 1796-1821. Size ;i- in photograph.
It I I tillliT, I ')'.'"
I
1
is important pair of early 18th Century Scottish candlesticks forms
part of the interesting collection of old silver at present on display in
our showrooms. Made in Edinburgh during 1716 and standing 6i in. high,
they are fine and rare examples of the cast work produced at this period.
Wilson & Sharp 139 Princes Street, Edinburgh fe^J) A Member of the British Antique Dealers Association
Fairyland Lustre — the iTiffan\ l>\ Wedgwood.
Of bone china, in the most lustrous
unit heavenly rotors. Let us help you join
the ever-expanding, list oj collectors.
mwn£>
W F-DGWOOP
173 It est I Hi t Street
Philadelphia. Pennsylvania I'll 19
(215) CI I 7-2062
PETER MACK BROWN
CHINESE EXPORT LOWESTOFT
18TH-CENTURY FRENCH. ENGLISH * AMERICAN FURNITURE
1 8th- Century French Antiques
Regence Cartonnier. roseuood uilh ormolu mounts. French IHth Century.
27\ ins. long II ins. deep 31 ins. high
CHARLES C. PATERSON
746 Madison Ave.. New York, N.Y. 10021 • UN 1-1666
Member Art ami Antique Dealers League of America
National Antique and Art Dealers Association of America. Inc.
(lin/imitedi
Member ol (he Am Si Antique Dealers League ol America, Int.
120 Greenwich Road, Charlotte, North Carolina
Telephone (7(H) 366-7272
A pair of RSgence gilt bronze satyr candlesticks
French, period circa 1 730 Height: 8i in.
1525 WISCONSIN AVENUE, N.W.
WASHINGTON, D. C.
CABLES: AREA CODE
"ANTIQUES" 202
WASHINGTON, D. C. FEDERAL 8-8484
I l\
i.omp.iimie tics i.ominissaiies-rnseurs uc raiis
UCTION SALES IN PARIS, PALAIS GALLIERA
November 29th, 1968 at 9 p.m.
FROM THE COLLECTION OF
BARON X
and various connoisseurs
OLD MASTER PAINTINGS
Drawings - Watercolours - Pastels
Mr. Robert LEBEL, Expert
). TENIERS: Rustic interior, wood (so 60 cm),
signed m the l< >\\ er right cornei
November 30th, 1968 at 2.30 p.m.
A VERY IMPORTANT COLLECTION
OF XVIIIth CENTURY FURNITURE
TAPESTRIES AND CARPETS
essrs. PROST, DILLEE, CANET, Experts
Bureau de dame. Period Loui-. XV .
December 9th, 1968 at 9 p.m.
MODERN PICTURES
nportant Works by Boudin, Degas, Dufy, Picasso, Pissarro, Renoir,
Utrillo, Vlaminck, Vuillard, etc.
MosRheims © Laurin
AUCTIONEERS
1 RUE DE LILLE, PARIS 7 «, Tel: 222.61.90
Individual viewings will be arranged prior to the sales
6 bis rue des Saints-Peres, Paris 7c
M. KNOEDLER &CO.,
14 East 57th Street, New York, N.Y. 10022
October 9 — November 2
THE AMERICAN VISION
Paintings 1825-1875
INC.
for the benefit of the Public Education Association
November 6— November 28 1968
ERENCH BRONZES
15OO- 1800
New York Telephone: 212 PLAZA 3-9742
CABLE AMI >RESSES "KN'I >KI )LER" NEW V< )l< K. PARIS. I.< >\l>< >\
P ARIS. 8r>bis I At l!< )l K( ; ST. H< >NORE
[.( >NDON, :il ST. JAMES'S STREET
COINS
AND
S COLLECTIONS PURCHASED I
write giving details to
R. A. FARRINGTON
Silverdale
Hoyles Lane
Lea
PRESTON, PR4 OLD
Antiques, Furniture
and Works of Art
PACKED &
SHIPPED
to all parts of the World
OVERSEAS HOUSEHOLD REMOVALS
GANDER & WHITE LTD
Head Office:
25 CHEVAL PLACE, BROMPTON ROAD, LONDON S.W.7
Telephone: KNIghtsbridge
' / \iipf>y and kumfi
I shall be
Gander and While
him packee me '
Packing
Warehouse:
Empress Place. Lillie Road, S.W.6. Telephone: FULham 0309
'he
" 13 OLD BOND STREET,
.EGER LONDON, W.I.
3ALLERIES Ltd
Telephone: 01-629 3538 9
.tablished 1892
HOMAS WHITCOMBE ( 1783-1834)
I.M. Sloop 'Hippomenes', 14 guns
ff the West African Coast.
)il painting on canvas.
)ated 1809.
ize: 20J < 27J in.
EXHIBITION OF ENGLISH PAINTINGS
from October 16th to November 16th
Daily 9.0 to 5.30, Saturdays 9.0 to 1.0
GEORGE ROMNEY (1734-1802)
Portrait of Colonel George Augustus North.
3rd Earl of Guildford.
Oil painting on canvas.
Size: 30 x 25 in.
Collection: Montaque Burgoyne, Esq.
Recorded in H. Ward and W. Roberts 'George Romney'
Page I 13, No. 2
The Connoisseur, October, 1968
LVD
^Tf»nrt^--r-^~Tf--n--i»H:iTi1iir -^T-ninirf«l-aa
George II gilt wall mirror,
s' o" high, 2' 9" w ide.
This is 1 us t one example of a
remarkable collection of
antiques th.it awaits yon
at Maples Antique Galleries.
Valuation for Insurance and Probate.
MAPLE & CO. LTD.
Mentha 0/ the Rritish . Unique Dealers Assot . /././
IOI 11 Nil AM < hi K I ROAD, 1 1 in l)i i\, w.l. Ill : BUS 7000
Norfolk Regatta
Edward Seago
is now represented by
Marlborough
Marlborough Fine Art (London) Ltd
Next exhibition
1 3 November - 20 December 1 968
at
39 Old Bond Street
London W1
Telephone: 01-629 5161
I VIII
Butt's of Chester
' ><- ■'< u
This rare set of six Old Sheffield Candlesticks standing 9i in.high,is an extremely early
example of this craft, having been made around 1760. Each stick bears the mark of
Joseph Hancock who was the first craftsman to produce domestic Old Sheffield plate
subsequent to the discovery of the process by Thomas Boulsover a few years earlier.
You are cordially invited to visit our
17th Century flak Room where a large and interesting
collection of antique silver can be seen.
Butt & Co. 32 Eastgate Row, Chebier. "slciblislied in 1703 by Richurd Richardson
The Hallsborough Gallery
IMPORTANT OLD MASTERS
143 NEW BOM) STREET, LONDON. W.I. Tel: 01-499 1923
AUCTION SALE
OF PAINTINGS
by the late
IRMA STERN
South African Artist
of Repute
Favoured with instruction from the executors
of the estate late Irma Prinz (born Stern), we
shall offer a variety of works for sale by Public
Auction.
ON WEDNESDAY 20th NOVEM BER 1 968
IN JOHANNESBURG, SOUTH AFRICA
Tel. Add. PROMPT
AUCTIONEERS
111 Fox Street,
Johannesburg
Phone 836-2211
Illustrated catalogue from the above or by their kind
favour Richard Ellis & Son, 26 Dover Street,
London W.1.
BRONZE BUST
1 7 inches
Plus base
ALBERT
EINSTEIN
BY
SIR JACOB
EPSTEIN
AUCTIONEERS
111 Fox Street, Johannesburg
Phone 836-2211
Tel Add PROMPT
To be sold by Public Auction on behalf ot the Estate of the late
SARAH GERTRUDE MILLIN
ON WEDNESDAY 20th NOVEMBER 1968
IN JOHANNESBURG, SOUTH AFRICA
Illustrated catalogue from the above or by their kind favour Richard Ellis &
Son 26 Dover Street. London W I
LEFT: Fine, deeply chased, bordered silvergilt snuff box, engraved
cover, viz. "Presented to Charles V. Forster Esq' By the Inhabitants
of St Andrews New Brunswick . . ." Wt. 6 oz. Maker Nataniel Mills.
Birmingham, 1835.
RIGHT Heavy, elegant, gold snuff box, chased two-tone deeply
incised border, flamed mother-of-pearl cover, dramatic cobalt blue
enamel and engine turned sides and base. Wt. 4\ oz. Maker ELB.
Paris, ca. 1795-97.
EUGENE SUSSEL
AMIItl l S \\l> FIXE AIM
I929 (III SIM I Sllll 1 1. Nlll VIIIIIMIh. r\. I9I03
Members of the Art and Antique Dealers League of America
and The Appraisers Association of America
LX
THE PULITZER GALLERY
5 KENSINGTON HIGH STREET
LONDON W.8
CStCm 2647 and PULITZART London
JUNKERNGASSE 17, BERN, SWITZERLAND
Wintcrscapc by AI R] VAN DER NEER
Amsterdam 1603-77
Ocuvre Catalogue Hofstede do Ciroot, No. 533a, Vol. VII
rovenancc: Auction in Leuwardcn In V. K. Vegelin van Claeszbcrgen ic>th April iN-i'>. Lot 66, Collection Prot. Dr. Henschcn, Basle
Certificates: Dr. M.ix Fricdlacndcr \<ni. Dr. Walter Bernt "M4, etc.
Also shoti'H 111 Exhibition:
Pictcr Brueghel III, Jan Brueghel and Pieter van Avont, Ahr.ili.iin Begeyn, Master ol \ntwerp Picta,
Master ot the Prodigal Son, Isenbrandt, Haunt van Orley, Aellvtt Cuyp, |jcob Gerrits ( uyp,
Caspar and Constantin Netscher, Leendert Maertensz van Haestar Bartholomeus van der Heist,
Thomas Heeremans, Sir Anthony van Dyck, Adrian van der Wcrff, Bartliolomcus Bruyn and many others.
Exhibition from stli October to 1st November [968
Open daily from 10 a.m. to 7 p.m. (except Sunday)
Opposite the ROYAL GARDEN HOTEL
LXI
I HA\K < AltO
29 J by 17^ inches
Chang Dai Chien
Recent Paintings
EXHIBITION IN NEW YORK CITY OCTOBER sth to 26th
November 2ml to November
S. H. MORI GALLERY
83 East Van Burcn Street
Chicaeo, III.
ird
November joth to December 14th
Alberts-Langdon Gallery
96 Charles Street
Boston, Mass.
II EAST XT'" STHEET
NEW VOIIK CITY
aim \ < oi»i: (212) ri,. :i-2H»<;
The ( onnoKscur, October, 196H
I XII
DELOMOSNE AND SON LIMITED
A p:iir of Worcester small H.iskcts finely painted with flowers, diameter 6j ms. First period, circa 1765
I MI!
ROLAND, BROWSE & DELBANGO
19 CORK STREET
OLD BOND STREET, LONDON W.1
01 -734 7984
JOSEF HERMAN
PAINTINGS and DRAWINGS
FROM MEXICO
EXHIBITION from October 16th - November 16th
ALAN TILLMAN ANTIQUES
6 HALKIiN ARCADE. LONDON S.W.I
Telephone BEL 8235 Cables riLiAX 'eights, s.w .
\ N RXTREMRM MM- II \< < \ It \ I 1 I \ I ll'H m | |, sir Willi \ PINK
l Hoi SAND-PET AIXED ROSE AND III Hi. I Nl)\ RED Rl D, HI low \ Mil (
KNti- WHITE PRIMROSE AND ROV Al mil III n. \ ^ I I nn\ \Mi ri iii'l I
PANS^ \ M» A YEM.OM Will \ I PLOW EH, \ \
A GARLAND
OF WEIGHTS
Some Notes on Collecting Antique
French Glass Paperweights
Frank
Manheim
One of the world's leading
authorities
45 full-page plates
in full colour
Obtainable from
ALAN TILLMAN (ANTIQUES)
6 Halkin Arcade, Motcomb Street, London S W.1
Please send me copy/copies of
A GARLAND OF WEIGHTS (£5. 7s. 6d. each
including postage and packing)
I enclose C s. d
Name
Adfiress
Published by THE BODLEY HEAD LIMITED
The ( [onnoisscur, ' Ictobcr, |<X>8
I XIV
The largest antique shop in the world. And
the busiest. The Antique Hypermarket
will have attracted nearly 200,000 visitors
in its first year of operation. The result-
ing turnover makes it possible for trade
buyers to be served very competitively
by over 100 serious dealers with about
one million pounds worth of constantly
changing stock. Open to the public-
admission free.
THE ANTIQUE HYPERMARKET 26-40 KENSINGTON HIGH STREET LONDON W8
TELEPHONE: 01-937 6911/8767 OPEN FROM MONDAY TO SATURDAY 10 a.m. TO 5.45 p.m.
A most important Regency bookcase
in plum-pudding mahogany crossbanded in
Rosewood. Circa 1 800. Dimensions : —
Length 10' Depth 2' 1" Height 8' 5"
A fine late 1 8th century writing table
in faded rosewood inlaid with satinwood,
the top covered in faded green hide.
Circa 1795. Dimensions: —
Length 5' Depth 2' 8f Height 2' 5"
A broken-arch Bracket-clock by
James Tregent. Circa 1780.
One of a pair of Regency gilt wood pier
glasses retaining the original eglomise
panels. Circa 1 805.
Dimensions:— Height 4' 3" Width 2' 8"
ASPREY & COMPANY LTD
165-169 BOND STREET LONDON, W1YOAR
TEL: 01-493 6767
By Appointment
io H M The Queen
Silversmiths
& Jew pliers .
Rodney Brooke
XVII, XVIII and early XIX Century
English and Continental Furniture,
tdoestnes and works of art.
Enjoy the beauty of your pictures
and add to the interest of your home
by installing "SPL" Picture Lights.
5 models from
55/3
Efficient , yet
unobtrusive ,
they are fixed in
a moment to the
back of the
pictureframe
and are ready
for connection
to a nearby
electric point .
complete with lamps
Obtainable from all leading Electrical Shops. Send for free Colour Leaflet to-
LINOLITE LIMITED Sales and Export Departments,
142, Liverpool Rd , London N.1. Tel: 01-607 0072 Ulines)
260 Brompton Road, London S.W.3
KNI 1721 and 4880
WILLIAM WARE GALLERY
TWENTY FIVE - SLOANE STREET - S.W.I.
Telephone 01-235 1505
PAINTINGS OLD & MODERN - PICTURE RESTORATK )N
FINE ENGLISH FURNITURE
III indmill
anil fishing
boats.
[AN VAN < >S
17 1 i-ifiim
Signed
( )il on jutiiel
131 IX in.
All U.S. enquiries to :
6200 High School. Dallas, TEXAS
EXHIBITION OCTOBER 3-26
Marjorie Parr Galleries
285 KINGS ROAD, CHELSEA, S.W.3
01-352 076X
PARIS
Galeril des Anciens
i t des modernes
1 2 rue Guenegaud,
Paris-VIe
NEW YORK
Findlav Galleries,
1-13 East 57th Street.
New York, N.Y. 10022
Nureyev 2nd Study,
Bronze. Height II in.
ENZO PLAZZOTTA
Rodney Brooke
XVII. XVIII and early XIX Century
English and Continental Furniture,
tapestries and works of art.
260 Brompton Road, London S.W.3
KN1 1721 and 4880
The way to select |
ORIENTAL RUGS I
x
is to examine them in your own home >
f
--'.-jit,,. ~r.v .-^.33^
Hundreds ol
rare antique.
inexpensive
antique,
semi -antique,
and new rugs in
antique designs.
Each moderately
priced
SFND FOR DESCRIPTIVE LISTS and COLORED PICTURES. Include ycur
Zip Code Select rugs you wish sent on APPROVAL. WE PAY ALL
SHIPPING CHARGES. NO DEPOSIT OR EXPENSE to you in ordering
our rugs shipped on approval No obligation to buy.
Antique rugs S50 to S2.500
Small to Giant Sizes.
2,000 Oriental rugs Irom
India in pastel (Kirman) colors
100% wool nap, 50 sizes
9 x 12 ft. S295 to S550.
Many giant and
unusual sizes
lor sale by American foremost
authority and expert on Oriental
Hugs, and largest exclusive dealer
in natural, untreated rugs.
For 43 years we have been eliminating
the element of gamble in buying Oriental
Rugs for thousands of customers all over
America
"OKIKNTAL RUGS —
A Complete Guide"
by Clinrles W. Jacobin . . . $12.50
First and only Oriental Rug en-
cyclopedia ever published. 480 pages
with 2511 plates, 38 in full color.
CHAS. W. JACOBSEN, Inc. f
401 S. SALINA STREET. SYRACUSE, N Y. 13201 X
DEPT. C TEL. HA 2-7832 V
X
ARY SCHEFFER 1795 858)
We offer for sale a museum quality example of ARY SCHEFFER'S
work "La Bataille de Morat" Oil painting, size 37| x 24*. framed
conventionally in gold finished molding, size 42 x 30 Cradle panel.
This example of Scheffer's painting is comparable to those shown
in museums throughout the world Amsterdam - Boston - Calais -
Florence - Hamburg - Lille - London ( National Portrait Gallery ;
Tate) - Marseille - Melbourne - Paris - Rotterdam - Toledo (Ohio)
Venice - Versailles - Washington (Corcoran)
George E. Figler, 1 5 West 55th Street, New York. N Y. 1 001 9
ANTIQUES • WORKS OF ART
SILVER • PORCELAINS
PAINTINGS • TAPESTRIES
SCULPTURE • FURNITURE. ETC.
H. QALKA, inc.
860 MADISON AVENUE
NEW YORK. NEW YORK 10021
Telephone <212' 861-9890
.Appraisers and Liquidators to
Museums, Attorneys, Collectors,
Executors, Trust Departments
for Estate Tax, Insurance,
and other Purposes
MEMBER APPRAISERS ASSOCIATION OF AMERICA
AND
ART AND ANTIQUE DEALERS LEAGUE OF AMERICA
Antiques and works of Art
I I IREE INTERESTING JUGS
Pratt, hunting, blue .ukI \cllow on white. ~\ in. t.ill.
I'i .in, sporting children, S in. call,
Leeds, farmers arms, red, orange .mil brown on cream
iiround. ?! in. tall.
Hon land's Antiques
Route 202 - Route 413
Buckingham, Bucks County, Pennsylvania
Telephone: (215) 794-7611
J he Connoisseur, < (ctobcr, i>y>s
1 x.\
Autumn l-fst i v;il, .1 design attributed i<> the ( 'ban dynasty, is delicately
chiseled ini<> bron?c inlaid in .1 pewter base and encased in bronze. It has
been buried 111 earth to create .1 patina 111 subtle Inn s
lilts coffee table bears the signature ol I'lnlip and Kelvin La Verne, master
sculptors ol liMKiKiii.il works ol 111 111 the 20th century. 20 ■ 57 ■ 17
See lite entire collet lion at
Philip La \ erne
46 East 57 Street, New York, PLaza 2-2(
mildred friedman's
MM'
331 1 West McNichols Rd.
Detroit, Michigan 48221
id: (313) 341-1323
18th Century Walnut Sec-
retary by a Dutch Master
with stump work panelled
doors. Original hardware
and a remarkable interior.
81 x 40x22 in. deep.
kaywin smith
by appointment LITCHFIELD, CONNECTICUT • (203) JOrdan 7-5771
Eighteenth-century Italian trompe Voeil
on paper, of superb quality and fine condition.
Size I i 20. Dated 179.1.
Always u selection of sporting subjects, water colors, drawings
SPANISH Circa 1 620
Oil on Canvas Si/c 24 ins 36 ins
/' l/\ //\(,.S ICONS GRAPHICS
LIROS GALLERY
630 N. WASHINGTON ST.
ALEXANDRA, Va. 22314
(703) 549-0059
L X X 1 1 1
The Connoisseur Register Advertisements
WANTED
Private Collector interested in offers of any prints, any general subject,
directly associated with the Bahamas Islands, including maps, scenic
views, past Governors, pirates, etc. Please apply P.O. Box 1624, Nassau,
Bahamas.
FOR SALE
Old Prints. Unrivalled selection on all subjects, also ORIGINAL
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRIPTS.
Callers by appointment only, telephone Ambassador 5439. Walter T.
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London W.1 .
The famous Christmas Plates from Royal Copenhagen and Bing £t
Groendahl for sale direct from Denmark. Older Plates also available.
HAGERSOE Plate Service, Postbox 231 , Aarhus, Denmark.
Two masterpieces of Jean Gabriel Domergue. 147 m 111 m
0 88 m 1 07 m - One Claude Joseph Vernet, 1703-1797,
Harbour at Sun Down'. Write to Detry, 200 rue Edith Cavell, Brussels 1 8
(Belgium). Tel: 74.71 .76
Where Else can you buy genuine 18th and 19th century pictures -
beautifully framed - for as little as £30 a pair except at Windlesham
Write Box No: 7434, ortelephone Bagshot 2377. No dealers
MISCELLANEOUS
Cameo Corner famous for 60 years for fine craftsmanship in antique
jewellery from ancient to Victorian. Also the best in contemporary design
Enquiries welcome. 26 Museum Street, W.C.1 Tel 01 -636 0401 Open
9-5. Thu. 6.30
Books on all Branches of Art and Architecture. Catalogues issued,
send 1 /- in stamps overseas customers nocharge. Collections purchased
FRANCIS MARSDEN, A B A , 59A King's Road, Chelsea, LondonS W.3
(Postal business only.)
Unusual and Elegant Wall Motifs to augment the effect of beautiful
furniture. Gytha Owen Hardy, 8/8 The Paragon, B'heath, London S.E.3.
Antiques - We are in a position to undertake the repairing of fine
furniture. KEEBLE. LTD , 20Welbeck Street, W.1 Tel : Welbeck 01 63
Register advertisements are 21 - per word, minimum CI 6 0 for 15 words,
which must be prepaid and sent to the Advertisement Manager, THE
CONNOISSEUR. CHESTERGATE HOUSE, VAUXHALL BRIDGE
ROAD. LONDON S W 1 (Victoria 2331 ) Addresses or Box Numbers
must be inserted and replies to the latter should be clearly marked with
the Box Number The Proprietors of The Connoisseur accept no
responsibility for any sales effected
Hal O'Nians
Dutch • Flemish • Italian Masters
6 RYDER STREET, ST. JAMES'S, LONDON, S.W.I
WHItehall 9392
♦fr GARRARD The Crown Jewellers
will purchase at highest prices antique and modern
jewellery, silver and period clocks. A valuer will call
to view larger pieces or collections.
GARRARD The Crown Jewellers
in REGENT STREET, LONDON, W.i. TELEPHONE: REGENT 7020
CHINESE
GALLERY
ANTIQUE CHINESE POTTERY FIGURINES
40 Great Russell Street, London, W.C.I.
(LANGHAM 7538)
ATTRACTIVE 19th CENT. PAINTINGS
FOR SALE
Joseph Triors, Charles Venneman,
John Varley, A. A. Glendenning,
William Mellor, etc.
Phone: 01-435 1476 (day) Spe: 9344 (evening)
or BOX 7435
(Georgian D'iy bed, mahogany frame, uu.i iSoo.
length 6 ft. ba< k to from 2 ft. 2 in.
|>ORCEl AIN • MAI'S
Dealing in antiques since t88o
LOWE
of LOUGHBOROUGH
1 MM BS I'llOM MI
39-40 CHURCH GATE rd. olo-o3 2554
Open <ill week except Saturday. < hvn Cat Park
Post- Budget Prices for fine jewellery are even higher. Cartier are interest-
ed in purchasing single pieces or estates in strictest confidence. Cartier
Ltd., 1 75 New Bond Street, London W.1 01 -493 6962
Rupert Preston Ltd.
17 KING STRLFT. St James's. London S W 1 01 -930 1 794
Specialists in 17th and 18th century
Seascape Paintings
// f/Sn/jj/ ■ '1. .-. y town
43 £$o,vt S//><v/.
llyJe I'ark- 4711
NITA MILLER
FOR PERIOD LAMPS
Nita Miller Lamps and Shades
63a G rosvenor Street, W. I M ayfai r 095 1
"The Ridotto,'
by PIETRO LONGHI (1702-1785)
On canvas, 33 x 46 inches
NEWHOUSE
GALLERIES, Inc.
Established in 1878 — Telephone Plaza 5-4980
15 East 57th Street, New York, N. K 10022
LXXV
SHOWCASE
talists
Antique
Clocks
CHARLES FRODSHAM & Co.
173 BHOMPK >N 1<( >AD ^f^-
LONDON S.W.3 Kensington 1073
R. E. PORTER
z and 4 POST OFFICE ROAD
BOURNEMOUTH Bournemouth 242S9
Samuel 1 1 oods
Pail - Loudon i~sc >j inches high
Single - London 174c 5 inches high
HILTON GALLERY
(F. E. Goold)
(ST. MARY'S PASSAGE
CAMBRIDGE Cambridge 50SS6
m
7
ice .^LitMys H/jrn .4N ^ttr/jc-
7 /!'/• COLLEC1 ION OF OLD
TAPESTRY AND NEEDLEWORK
CI SI IK )NS
E. B. SOUHAMI
6c PRINCES ARCADE
LONDON S.W.I Regent 7196
Small Georgian
Mahogany
Cheval Mirroi
with 2 drawers
under.
i 0" high,
1 ' 7" wide,
tSio.
Price f.»5-
A. T. SILVESTER & Sons Ltd.
WARWICK ROAD. SOLIHULL
WARWICKSHIRE Solihull 0888
and at Warwick and Knowle
/ rotn out
interesting
An important
MLfe richly < mhossvd
■ .
f ^£rh 11 *if /1 horses on
i
Mid mounted
.
(MA\ By/. /:'.
'lorry, London,
Weight;
-
1 $ in. high
1 4 in. iruio.
M. P. LEVENE LTD
(Members: B.A.I '.A.)
5 THURLOh PLACE. I ONDON s \\ 7
Phones (01) 37>s'37S.S
l.uing I ittoria mid Albert Museum
( hie oj a ^election of French marblel
places. Price range from £60. 1
C. P. BURGE
162 SLOANE STREET
LONDON. S.W.l SloJ
and at Thames Ditton, Surrey
A Louis}
I'oulle bra
clock and t
bracket by
BASTM
P. 1 RIS.
(Circa ii
2$ in. Irigi
ot'erall.
Philip & Bernard DOMj
174 KENSINGTON CHURCH SI
LONDON W.8 BAYswaS
MEISSEN— a very limited amount of this exquisite porcelain tableware
is now available in this country. Supreme of their kind, each piece is
painted freehand by Meissen master craftsmen, in the tradition which has
for over two centuries produced tableware for the palaces of Europe.
Their beauty and rarity makes these magnificent services an excellent
investment.
A list ot stockists may be obtained from the sole importers:-
Holborn Tableware Co. Ltd., 36 Harton Garden, London, E.C.I.
EXPORT TO EUROPE BY ADVERTISING IN
1949-1970
111 k <; 1 1 1» i b:n i : is
To appear March 1969
EUROPE'S LEADING DIRECTORY
now being prepared
MI.O0O nnmet nnd addresses of Antique Dealers, Picture Galleries,
Market.. Exhibitions ringside il ia ( ounlrirs, ( itics, Towns,
Street an. I Specialities. 1,100 pages.
Pre-publication price 56/- (.rent Britain and Ireland, |»<>-t paid
Advertising detail* nnd rates available from:
G. & F. GILLINGHAM (ANTIQUE DEALERS AND EXPORTERS)
4 C RE Dl TO N HILL. HAMPSTEAD, LONDON. N.W.6
Telephone: 01-435 5644
EVERYBODY'S KEY TO THE TREASURE HOUSES OF EUROPE
Crouch Lane Borouffh Green, K<
/? ,/,„ e/„c/,<
Two-pillar mahogany Dining Table
Width: .1 ft. (1 in, Length: (I leaf) <> ft. l> in;
with 2) 8 ft.
Horoimh Green 327'
ORENE MAINE Atonies
te #7, P.O. Ridgefield, Connecticut • (203) 438-2386
(See following pages for description)
JOHN LA FARGE
(1835- 1910)
Still Life
( )il mi cam a> 21 Id in.
1 1 1 < 1 1 j < 1 1 - < I in our forthcoming exhibition
WII.KHW STILL LIFE PAINTINGS (I860 - 1900). November 1968
adelson (Salleries, 3nc.
esloration
154 Newbury St., Boston. Massachusetts (12116 (617) 266-66.^1
the < onnoisscur, < >ctober, i'/>x
I \XX
Jean-Baptistc Pigalle
French, i 714-1785
L'ENFANT A LA CAGE
Origin.il study: limestone
and plaster, circa 1748-49;
H. 1 8 J" (47 .cms)
On a contemporary gilded-bronze
revolving base.
1062 MADISON AVENUE,
NEW YORK, N.Y. 1002S
TR 9-2171
Forerunner of small-scale French 1 8th century genre sculpture, the
'Child with a cage' is also one of Pigallc's most famous works. The
signed and dated (1749) marble, now in the Louvre, was exhibited
at the Salon of 1750 and was an immediate success. The model was
so popular that a number ot bronze versions were cast and edited
by the fondeur Thomire (Weihrauch, Europdische Bronzestatiietlen,
pi. 539) and several reductions were made in Sevres porcelain.
However, the marble and the reproductions all show one interesting
and major variant to the present work : the pathos of a dead bird
lying by the cage has been eliminated, probably because Pigalle
realised that its presence detracted trom the rejection ot reality
that was characteristic ot the period.
Our research has uncovered no other example w hich includes the
body ot the bird. This, as well as other variations in the form ot the
base and ot the cage, indicate the limestone to be one ot the orig-
inal studies prior to the carving of the marble and perhaps the first
concept ot it.
From our current brochure entitled
'SCULPTURE FOR A SMALL MUSEUM' including bronzes
and other works of the 1 6th- 19th centuries, from our collection.
This fully illustrated and documented catalogue is available:
price $2.00, post paid.
3263u£PSked
ANTIQUES
BEHIND DESOTA HILTON HOTEL
Matched Lancashire Ladder Hack Chairs in
Ash wood, comprising 1 armchair, and 5 single
chairs ( irm 1 780
THE COTTAGE ANTIQUE
37 HOLYWELL HILL. ST. ALBANS
HERTFORDSHIRE. Si. Alban, 3)210
Member of the British Antique Df uteri' Allvctulw
Pair of Antique Irish silver cast candlesticks.
Maker: Robert Calderwood, Dublin, c. 175".
10 m high.
Antique Kiifjlish and Irish Silver
Old Sheffield Plate • Victorian Plate
iite iclntinueg 3)nc.
Bertram A. Wine
26 East 55th Street, New York, N.Y. 10022
Tel: PLaza <>-5<>K5
Members of the Art and Antique Dealers League <>/ America Ine
JOSEPHINE HOWELL inc.
Member of the National Antique and Art I )calers Association of America, Inc.
41 EAST 57th STREET NEW YORK, N.Y. 10022
PLAZA 3-5515
FRENCH ANTIQl 'ES
I inns XVI Mahog.my Writing fable
57 '. in long 2<lJ in deep 2i) 111 high
I Ik- ( onnuissenr. ( >itolx-r. |</>H
I VWII
^^lemish Gothic chest with alabaster Madonna
and Child in a nave. Outstanding carving. 15th-C.
CARL YEAKEL
1 099 Coast Boulevard South, Laguna Beach, California
Phone Hyatt 4-5526
One of the finest and most comprehensive stocks
in the country
Fi IN ITU RE ■ MARINE ITEMS ■ SILVER
PORCELAIN ■ OB JETS DART - ETC.
THE SLADMORE GALLERY
roth Ccntur.- French Animal Sculpt
IN. P. 1. MENE.
HILL. Nr. HIGH \"«~YCOMBE. BUCK*
Also at Stands 84 and 9;. The Annque Hypermarket. Remington
LITTLE WINCHESTER GALLERY
JULES DUPRE
XlXth Century French and Dutch Paintings
-
■
drian galleries
A.P.A. & ANONYMOUS
5-7 porchester place marble arch london W2
pad 9473
FRY English 18th and 19th Century
Watercolours and Drawing?
Re storatf o n .-»•:-
55 -r--.- S;-es; St . = ~ss s
- : : - S'A ' :*-4S3 ii=i5
S A B I N
GALLERIES
4 Cork St.. Bond St.
REGent 6 18 6
specialists in
paintins? and drawing*
of the Georgian era
GRABOWSKI GALLERY
Paintings by :
TERRY SETCH ALAN WOOD
October 1 - November 29
THE TRYON GALLERY LTD
410 DOVER STREET. LONDON. YV.i HYDE P\RK 5161
S*ertir.o jr.: Xatuml Hist pry (rictares
OMELL GALLERIES
F IME :*~ 2-z IZ:*\ CENTURY PAINTINGS
AT REASONABLE PRICES
CRANE ARTS LTD.
321 Kings Road, London, S.W.3 FLA 5857
Tues.-Sat. 10-6
Early English and American Primitive Paintings
Modern Naives • Bizarre Antiques
EDWARD SPEELMAN LTD
OU Miners
EMPIRE HOUSE, 1-5 PICCADILLY
LONDON Wi V ONP
01-493 0657
IANK PARTRIDGE
DNS LTD
] PARTMENT OF SILVER
:TOR: THOMAS LUMLEY
II New Bond Street, London W.i
? DNE: 01-629 0834 CABLES: FRAPARTRI LONDON W.i
FRANCESCO GUARDI: Oil on
canvas, 'Venetian Cappriccio' (with
certificate from Prof. G. Fiocco),
size 30" X 50".
CORNELIUS KRIEGHOFF: Oil
on canvas, 'Indian Encampment at
Lake Memphramagog', size 19" <
26.1 ".
IEO Oil tempera on
nent, Marriage of St.
ith letter from
}. Ficco), size 9" X 7".
REMBRANDT: Oil on oak
panel, 'Study of a Rabbi'
(with certificate), size 14" X
12").
JACOBY'S of MONTREAL
(Canada's Leading Auctioneers of Art)
Present
A HIGHLY IMPORTANT AUCTION SALE
OLD MASTER PAINTINGS
The property of a Lady, Hon. Hamilton H. Killaly, various estates and other owners
On November 14th and 15th, 1968 at 7 p.m. each day
including works by or attributed to:
5EA SCHOOLS Master of the Adimari Cassone, Edgar Degas (with
te . vid Teniers II (with certificate), Richard Wilson, Francois Boucher,
\V erman (with certificate), Antoine Watteau, Sir Joshua Reynolds,
L. 1 v'igee-Lebrun, Bernardo Strozzi, Jean Honore Fragonard, Jacques
>avi ,driaen van Ostade (with certificate), Gaspard Poussin, Nicolaes Maes
erti e), Hercules Seghers (with certificate), William Hogarth, Jan Josef
His, icroix de Marseille, Hubert Robert, Francesco Zuccarelli, Pieter
rma Sir David Wilkie, Charles Francois Daubigny, Jean Baptiste Chardin,
d \ lard, Jean Baptiste Deshayes, Cornelis Bega, L. G. E. Isabey,
. I 1 Jongkind, Johan Scherrewitz, Bonifazio Veronese, G. Bazzani,
George Barret, Jean Baptiste Huet, Philip Loutherbourg, Andreas Schelfhout,
Edouard Manet with certificate), Jean Baptiste Perronneau, Francois Andre
Vincent, etc., and many others.
CANADIAN SCHOOL A. Y. Jackson includes a most important early work c.
1924), M. A. Suzor Cote, Arthur Lismer, Maurice Cullen, Robert W. Pilot,
Alfred J. Casson, Frederick Varley, F. S. Coburn, Ozias Leduc, Paul Caron,
Frederick W. Hutchison, J. C. Franchere, Henri Beau, M. A. Fortin, G. Delfosse,
John Fox, Clarence Gagnon, etc., and many others.
ON EXHIBITION
NOVEMBER 11th, 12th and 13th from 10 a.m. to 9 p.m. each day
AT OUR GALLERIES
480 St. Francois Xavier Street, Montreal 1, Quebec, Canada
Tel: 842-1803, 842-1804
Cable Address : Polcan, Montreal
COLLECTORS, DEALERS, ART INVESTORS:
Special attention is called to this extraordinary collection of rare and valuable paintings (approx. 150 lots), which is without
doubt the finest selection to appear in a sale in Canada
Sale conducted by: MR. LOUIS KELSEY, President
Illustrated Catalogues (70 plates including 5 in colour) $5 post included
»R i ROMNEY: Oi
is, 'Marquise de
(with certificate),
THEODORE GERICAULT: Oil
on paper, size 15" > 19.1 ".
JOSEPH ' W TURNER, R.A.
Oil on canvd "Female Bathers
(initialed), size 33 " 47".
1
ASIAN
GALLERY
FAR EASTERN ART
AND
ANTIQUITIES
24 East 80th Street
New York. N Y. 10021
Tel. 734-1 379
Pottery horse of the T'ang Dynasty (A D 618-907)
Glazed chestnut brown with buff-white mane and unglazed saddle
Height 20 inches. Length 1 9 inches.
RICHARD S. RAVENAL, DIRECTOR
I WW III
AMERICAN CLOCKS
Eagle Wall clock in a blue and
gold carved pine case attributed
to Charles Honore Lannuier, New
York about 1810. ^ Tall-case
clock with block and shell
door, the hood accented by
"platforms". Made of
mahogany, Newport, Rhode
Island, 1775. (V'* One of four
mahogany chairs, English,
circa 1740, with carved legs, the
open backs with tassel
and ruffle. ^u A good selection
of furniture, ceramics, textiles
and silver on hand.
Grinsbur
t
Antiquarians Since 1901
815 Madison Avenue
New York, N.Y. 1002 1
(212) RH 4-T352
^American
& Qnglish
^Antiques
I XXXIX
M. NEWMAN LTD
Established IH7(i Members nl Thr British Antique Dealers' Association Lid
4.3a Duke Street, St. James's and 1/5 Ryder Street, London, S.W.i
Telephone : 01-930 6068 7 elegraphic . Iddress : NEWPIC, LONDON, S. W. I
M. NEWMAN LTD
Established 1870 Members of The Br itish Antique Dealers' Association Ltd.
43a Duke Street, St. James's and 1/5 Ryder Street, London, S.W.i
Telephone: 01-930 6068 Telegraphic Address : NEWPIC, LONDON, S.W.I
"Peasant Women Returning from the Fields"
by A\ ! ON KOZAKIEWICZ (signed)
Canvas size: 52 \ x 55} inches (82 1 10 cm.)
Framed size: 39 , , 62 inches (99 X 157 cm.)
XC1
VOJTECH BLAU
Rl (IS AND I AIM STRIES
692 Madison Avenue. New York, N Y. 10021
(212) 752-2746
Specializing in [8th- and 19th-century ( aucasian and Asia Minor Rugs
221 1
KOUBA
9-8 3 9
Visit I II s .111 .1 1 W.I \ S Will ( H III lii I In ( ,.illi I \ . will IV Mil's
in liilii'.' Ii u I Ik ii \ it v\ in:' pit isiiiv
A ITU \is\l s Mil I.NATIS 1 1 Hi Ml S I l Ms \\| > III i. 1 i H I I i 1 1 his
Victoria "ml Albert Uuteum, Crown Copyright
Art i iisu i*aiH*c
is quite an art
too!
A work of art is unique. It is a tragedy when it is
stolen or destroyed. Money may not completely
compensate for the loss but it enables you to
start again. You may even find something better.
Sn get yoursell peace oi mind by getting the
protection oi specialist insurance. An "All Risks"
Policy from the Fine Art \ Central Insurance
Company ran insure pictures, tapestries, sculptures,
ceramics and works oi art oi all kinds against
lire, theft and accidents oi every description.
Fine Art & General Insurance have been the
acknowledged experts in the underwriting oi works of
art and art exhibitions for over 70 years.
Indisputable Values when certified l>v an approved
valuer, the values are accepted l>v the Company
as indisputable.
Fine Art moral
I iisu rancc < ouipa ii y Lid
i I ( i >rnhill, I ,< »nd< n i F.< .3
Membn t>J
/III 1 nmfninies "/ Ike < mnmrrt iai I'nion Assurance t.t.mj' arc Memhrn »l lite llrttish
X< II
MEZZOTIN AND COLOMBINE
French, 1st quarter of the XVIIIth century
Bronze: Height: Mezzotin 24 in. Colombine 25 in.
To be included in the exhibition, THE FRENCH BRONZE, 1500-1800
at M. Knoedler and Co. Inc., New York, from
November 6 through 27
MICHAEL HALL FINE ARTS
6 EAST 79th STREET NEW YORK, N.Y. 10021
Tel.: 249-5053 By appointment only Cables: MIKHALLART
X( III
ANTIQUE ORIENTAL RUGS
if '
MAURICE GLICKMAN
/ I\ FORTHCOMING EXHIBITION .
* '* CHARACTER in BRONZE *' I
FEOREME LEWISOX GALLER1
-
55 East 64th St.
New York. 10)2
:: ENTl
■ '
AN" J IQl f - • PAIN"! INGS
RARE PRIX! S • El CHINGS
W.VJi j< COLOR DRAWINGS • RESTORATION OF PAINTING>
OBJECT] S OF AK I
WILLIAM RUSSELL BUTTON UVM- 1 968
i i
-
Wilbur (.. Munnttkt
Robert F. Otto — Vice PiVMiiim
— Chairman of the Board
N LOS ANGELES
'PORTRAIT OF
CHARLES X OF FRANCE
FRANCOIS HUBERT DROUAIS
Oil on canvas, 25 ■ 20 i in.
J|on£e of Hartforb
13812 VENTURA BOULEVARD. SHERMAN OAKS, CALIF. 91403
PORTRAIT OF I0HN BOYDELL
BY GILBERT STUART
oil on canvas 26 in. 21 ' in
A striking and important portrait of John Boydell (1719 1804)
the London publisher of prints known for his illustrations of the
works of Shakespeare An astute businessman and man of many
interests. Boydell became the Lord Mavor of London in 1790
The portrait comes directly from the descendants of John
Boydell Lawrence Pai k illustrates a similar Stuart portrait of
Bovdell in his work on Gilbert Stuart
CHILDS GALLERY I IMC.
169 Newbury Street
Boston, Massachusetts 02116
Restoration Framing
xcv
He ;Pere, 3nt.
Pair George II arm chairs.
Original tapestries
527 MADISON AVENUE NEW YORK, N.Y. 1 0022 (212) 628-3430 BY APPOINTMENT
A rare and distinctive
Cherry wood George III double bureau,
circa 1760.
Height 40" , width 36" , depth 20" .
Representative of one oj the
finest selections of antiques in
the South.
rm ( onnoisscur, <) i >bcr, iyf>«
X( VI
Gregoire Galleries
NEW YORK • PARIS
FRENCH AND AMERICAN PAINTINGS
of the 19th and 20th Centuries
Pierre Carner-Belleuse
Pans 1851-1933
'Two Ballerinas'
Pastel mounted on canvas
29^ ■ 391 inches
1046 MADISON AVENUE
NEW YORK
Tel. (212) 988 1212 N.Y. 10021
Shown :
Dr. Wall Imari Plates
Chelsea Figurines
Circa 1770
Rockingham Tulip
Circa 1820
Derby and Rockingham
Poodles
Circa 1810-1820
LTD.
2800 ROUTH ST., DALLAS, TEX.
in the unique
QUADRANGLE
FURNITURE
LAMPS
ORCELAIN
POTTERY
ORIENTAL
M I D T O W N
GALLERIES A D GRUSKIN. DIR
SINCE 1932
REPRESENTING IMPORTANT CONTEMPORARY
AMERICAN ARTISTS
1 1 EAST 57TH ST , N Y
NOTTURNO : BOLOGNA
BISHOP
W PALMER
CADMUS
BETTS
SEPESHY
THON
BINFORD
MOLLER
VICKREY
ETTING
D ROSENTHAL
COINER
MAYHEW
NAGLER
MOYER
W PEIRCE
REINHARDT
PAUL CADMUS
BILLINGS
VARGA
HALE
SIVARD
M FREEDMAN
SCHOENER
F MEYER
ETNIER
CATALOGS AND PHOTOS AVAILABLE ON REQUEST
ARPAD ANTIQUES, INC.
.4
pair of
historical
portraits
Oil on pan:l, each 41 35.] ins.
Dorothy Spottswood Dand-
ridge, the second wife of
Patrick Henry and her second
husband, Judge Edmund
Winston.
FINE ANTIQUES APPRAISALS
3125 M S 1 kit r, N.W.
Washington, IXC. 20007 (-02) FE 7-3424
WJ \ //(/ /,' APPRAISERS ASSOCIATION Ol AMI RICA
RARE PAIR OF CHARLES X
15'10" x 10'6" (circa 1825)
Soft copper-rust field with yellow roundels filled with
delicately colored full blown bouquets and separated
by stylized leaf swaps united at intersections with
orange leaf medallions. Most unusual in a pair.
4 8 x 5
8 x 118
9.10 x 14.3
13.10 x 16 3
Charles X Olive
Louis IV Ivory
Louis XVI Beip.e
Louis XIV Bronze
10x117 Louis XVI Moss Green
16.3 x 22.1 Directoire Copper
17 x 17.9 Louis XIV Ivory
27 x 30.6 Louis XV Venetian Rose
BESHAR'S
IMADf
Mf MHI R
N S I D
63 East 52nd Street, New York, N.Y. 10022 PLaza 8 1400
Fine Floor Coverings Since 1898
INTERNATIONAL AUCTION
RECORDS-1968
FORMERLY INTERNATIONAL
YEARBOOK OF SALES
Paintings - Engravings - Drawings
Watercolours - Sculpture
13,000 International Art Auction Prices (1967)
in one Convenient Volume
650 pages - Many Illustrations
4,000 Artists of ALL Periods listed alphabetically
Further information on Request
$22 00 (plus sales tax) or equivalent in any currency
back issues from J 962 available
in French, i 75 00 each
CHRISTMAS GIFTS
$3.00 discount per copy
on orders for two or
more copies.
Send check with order to:
EDITIONS PUBLISOL, P.O. BOX 339
235 E. 85TH STREET, NEW YORK, 10028
I lie ( otitiiiissciir, ( >< ruber, io'iX
x< viii
VOSR
Established 1 841
alleries
of Boston 1 nc
238 Newbury Street, Boston, Mass.
( 617) 536-6176
Fidelia and Spcranza
by
BENJAMIN WEST
544 ' 4-'
Signed and dated 1 776
Exhibited at the Royal Academy
1 777, number y>4
Agents for the estates 0/
WILLIAM S. HORTON
and MAM II LI) PARRISH
BRUCE PENNEY
First New York
Exhibition
October 22 -
November 4
Off Season
xcix
SOTHEBY'S
TUESDAY. 1 5th OCTOBER
IMPORTANT CHINESE
CERAMIC S, LACQUER
AND WORKS OF ART
including the property of the late Mrs. Walter
Sedgwick and Duplicate Pieces from the
Percival David Foundation of Chinese Art
(Sold by Order of the Governing Body of the School of Oriental
and African Studies on behalf of the University of London)
Catalogue (38 plates) 12s.
An early Ming cinnabar lacquer box.
racter n •• • ng- lo. 5 j inches wide
/ellow ■ blu haractei
/vithii : nd of the period. 1
SOTHEB Y S
TUESDAY. 22nd OCTOBER, and following day
INE ENGLISH POTTERY AND PORCELAIN
the property of Mr. and Mrs. G. B. Slater. Mrs. E. L. Nicholson, a Collector, and other owners
Illustrated Catalogue
s
A Chelsea figure of a squirrel,
triangle period. 5J inches
A Chelsea figure of a Harlequin,
red anchor mark, 65 inches
A Chelsea bird,
raised anchor mark. 4.', inches
A Bow figure of Mercury by the
Muses modeller, 5^ inches
One of a pair of Longtcn Hall candlestick
groups of Westpans type. 1 1 J inehes
A Longton Hall figure of a boy
with a dog. 8 J inches
SOTHEBY'S
(Affiliated Company: Parke-Bernet Galleries Inc.)
will hold the following sales in October, each sale beginning at 11 am unless otherwise stated
ON VIEW AT LEAST TWO DAYS PRIOR ALL CATALOGUES POST FREE
LONDON
Sotheby & Co.
P.O. Box 2AA
34-35 New Bond St.. London W1
Telephone 01-493 7242
Telex: London 24454
Telegrams: Abinitio. London
NEW YORK
Parke-Bernet Galleries Inc.
980 Madison Av., New York 1 0021
Telephone: 21 2-879-8300
Telex New York 222643
Telegrams: Parkgal, New York
Sotheby's of London Ltd.
980 Madison Av.. New York 1 0021
Telephone: 21 2-758-2891
Telegrams: Abinitio, New York
CALIFORNIA
Sotheby's of London Ltd
The Executive Life Building, Suite 904
9377 Wilshire Boulevard
Beverly Hills. California 9021 0
Telephone 21 3-274-7329
Telex 677120
TORONTO
Sotheby & Co (Canada) Ltd.
Simpsons Downtown, 6th floor
1 76 Yonge St., Toronto 1
Telephone: (41 6) 861 -6761
Telegrams Abinitio, Toronto
PARIS
Pans Representative for
Sotheby & Co.
& Parke-Bernet Galleries Inc
Valentin Abdy
8 Rue de Duras. Paris 8e
Telephone ANJOU 2599
FLORENCE
Italian Representative for
Sotheby & Co.
&• Parke-Bernet Galleries Inc.
A Chesne Dauphine
Lungarno Corsini 42r
Florence
Telephone 24264
BEIRUT
Representative for
Sotheby & Co
& Parke-Bernet Galleries Inc
Mouniro 0 Attallah
P O Box 7095
Beirut
Lebanon
Telephone 226338
MELBOURNE
Australian Representative for
Sotheby & Co
% Parke-Bernet Galleries Inc.
H H T. Longden
P.O. Box 5
Collins Street
Melbourne, Victoria
Australia 3000
Telegrams Abinitio. Melbourne
Wednesday, 2nd October
Eighteenth and
Nineteenth Century Paintings
the property of various owners, including examples
by W. Baud, H. Boddington, A. Bouvard, T.
Buttersworth, O. ("Lire, A. Cooper, F. Danby, |. F.
Herring, B. W. Leader, C. Leslie, ). C. Maggs, \.
Meadows, [. P. Pcttit, |. B. Pvnc, [. McWhirtcrand
\V. Williams. Cat. 15.
Thursday. 3rd October
English and Foreign
Silver and Plate
the property oi Mrs. L. Mu.rrav-Thom.pson, Lt.
Commander G. M. R. Drummond, 11. E. Vander-
noor, Esq., E. CI. Hillver, Esq., Commander L . C.
Lings, Mrs. E. M. Wells, Miss B.J. Buxton, Mrs.
O. Phillips-Roberts, and other owners, including an
octagonal kitchen pepper. 1714, a tankard In
William Darker. 1773, a cruet frame and. casters b\
Samuel Wood, 1 747, a porringer B\ Matthew Loft-
house, i~i*. a salver by Robert Abcrcromby, 1741,
.1 pair ot table candlesticks by |ohn Carter. 1770,
several pieces by Hester Bateman, including an
unusual pair ot candlesticks, with Sheffield hall
marks tor 1 7S4 and the draw back mark, also several
C leongian and Victorian tea and coffee services. ( at.
Thursday. 3rd October, at 2 30 pm
Eighteenth and
Nineteenth Century Drawings
the property ot various <>\\ tiers, including examples
b\ H. Aiken, 1 1. B. Brabazon, W. Callow. 1'. La
Caw. D. Cox, J. Cristall, J. Downman, Sir \V.
Russell Flint. M. Birket Foster. A. Goodwin, R.
! fills, S. I lowitt, E. 1 ear. J. F. I c\ms. W.J. Muller,
sir A. M minings, S. Prout, A. rhorburn, and J.
Varlev.Cat. is.'
tobci
Fine English Furniture, Clocks,
Tapestries and Needlework, Rugsand
Carpets
the property of The IU. Hon. I he Lad\ Vansittart
removed from Denhani Place), Sir Colvillc
Barclay, Bt., and other owners, comprising a very
tine and lars*c I ahn/ carpet, needlework, three very
tine late sixteenth century Brussels mythological
h tin tint? tapestries, a good mill eighteenth century
musical bracket clock by Simon de Charmcs, a
double basket top and three tram bracket clock bv
William Speakman, a good small veneer etq
alarm bracket timepiece bv Henrv Massey-'iej
George III giltwood couch attributed b\ hcq
Chippendale, a good Queen Anne wa t tj
table, a fine Geortre III mahogany three da
dining table, a very rare and tine Ameri ™
wood tallboy, a set ot eighteen C leorge III n I
dining chairs, a good large Chippendale nw
pier glass, an important set ot eight G.wij
mahogany dining chairs. Cat.
IM
Monday. 7th October,
and following two days
Printed Books
the property ot the Hon. Neville Bern' kI
H. L. Bradfcr-Lawrcncc, Est]., and othci ah
Cat. is.
Monday. 7th October, and following^
English Pottery and Porcelain
the property ot Mrs. C. A. F. Wood, Mr*. I
vers Nicol, Mrs. P. Alcock, and other ovm
eluding a Staffordshire slipwarc bragget ptfl
Wood figures and plaques, a rare Whields I
in imitation ot Palissy, Staffordshire fig $ s
Tobv [us?s, salt<*lazc wares and solid a£ :is
Wedsjwood and other cream w are, inc ins
plate from the Imperial Russian service, ajflg
pot enamelled by David Rhodes; ,1 Bow JR
the Sultan's w ife, Derby candlestick grotm
figure ot Milton. Worcester w ares of
period, including a pair ot apple-green c>i|
cups and saucers, a rare transfer-printed to
japan-pattern guglet and basin and a si;M
part service; services tor tea. coffee anc-iS
including a Minton turquoise-ground de: tl
vice, and .1 Bloor Derb\ apple-green botai ill
vice. aKo nineteenth century porcelain, inch
pair of Mintons Pate-sur-patc rlasks by 1cm
and I )erbv plates and dishes decorated by fli
I )odson. Cat. ( 1 5 plates) 6f.
Tuesday. 8th October at 1 1 am and 2,1
Old Master Engravings, Etching I
Woodcuts
the property ot His Ciracc the Duke ot N> *
Borland, K.G., Professor David Fyfc Ail
Miss Olive Lloyd-Baker, J.P. and other *
comprising German prints by Aldegrcvcr.A *
Baldttng, Bcham, Cranach, Diirer, Flindt, I
van 1 cyden, Master I. I ., van Mackcnhcn
and Schong.uier; chiaroscuro woodcuts by 1
Carpi, Coriolano, Antonio da Trcnto, A. M?f
ti, [. B. |ackson, [olin Skippc, Paulus More *
Nicholas le Sueur; an interesting group 0 1
seventeenth century etchines bv Baroca &
caino, Cantarini, Carpioni, Castiglione,
Leone, Piola, Sirani, Vaiani and others,
1 Italian eighteenth century etchings by
"osta, Fragonard, Giordano, Manglard,
'iranesi, G^. B. & G. D. Tiepolo, Vernet,
nd Zocchi, and Los Caprichos and La
ia, both first editions by Francisco de
(10 plates) 4_<.
: ay, 9th October
ter Paintings
Icy of Sir Dennis Stucley, Bt., and other
At. IS.
| , 10th October
and
Silver and Plate
I ty of Mrs. C. A. de Linde, R. A. Davics,
j. Forrest, Wing Cmdr. J. W. Ogilvy
j. H. Walker, Esq., Brigadier Rother)
i . P. Boyce, the late Mrs. McNulty, and
:rs, including a porringer bv John Oliver,
;, a tea cup by Joseph Clare, 1 723, a sauce-
n Edwards, 1 73 S, a codec pot by Edw ard
1, a large saucepan by E. Fannell, 1 786, a
3s bv Hampston & Prince, York, 1798,
Georgian salvers, waiters, sets of candle-
Irea sets, including a few pieces by Hester
and a Spanish ewer, probably Santiago,
it. is.
',10th October, at 10.30 am
nt Jewels
cf rtv of Miss [. Souza, Miss P. E. M.
ilmes, the late Mrs. J. A. [sow, Mrs. S. R.
Mrs. E. Glenn Allen, Miss M. G. Evetts,
ker, Esq., Miss E. V. Harington, Mrs.
ry, and other owners, including several
rut diamond single-stone rings, three 1 in—
pep-cut diamond rings, two diamond
jewelled silver-gilt chalice, .1 diamond
everal diamond flexible bracelets, an
century diamond brooch, an important
ind diamond cluster brooch, another
emeralds and baguette diamonds, a num-
gs in emeralds and diamonds, and sap-
a diamonds, a flexible bracelet 111 sapphires
onds by Garrard, a tiara necklace in
diamonds, a large ruby and diamond
ster brooch, a necklace by Guiliano, a
nerald weighing 9.95 carats and a nine-
ltury topaz and diamond flower cluster
^9 plates), 4>.
1th October
and Continental
re, Clocks, Rugs and Carpets
ty of various owners. 111. Cat.
Monday. 1 4th October, and following'day
Printed Books
the property of various owners comprising two
collections ot books on angling, and collections ot
Ensihsh Literature. Cat.
Monday. 1 4th October
Fine Arms and Armour
the property of Mrs. S. M. Gowthorp, C. G.
Rankine, Esq., and other owners, including a
Nuremberg black and white three-quarter armour,
late sixteenth century and an Italian three-quarter
composed armour, late sixteenth century; an
Italian backsword, mid-sixteenth century, an
English transitional rapier, mid-seventeenth cen-
tury, an Italian swept-hilted rapier, early seven-
teenth century, a Spanish cup-hiltcd rapier, mid-
seventeenth century, also an Italian dagger, early
seventeenth century; a [ames II service pattern
flintlock pistol, a pair ot silver-mounted (:corge II
flintlock pistols by fames Low, London, a pair ot
Scottish all-steel flintlock pistols, mid-eighteenth
century, a flintlock three-barrelled turn-off pocket
pistol, by S. Smith, Walton, early nineteenth cen-
tury, a Liege tour-barrelled turn-ofl pocket pistol,
mid-eighteenth century, a Spanish flintlock holster
pistol bv Serras Manresa, dated [73 1, a pair ot
German flintlock rifled pistols by Kuchenreuter,
late eighteenth century, a Dutch flintlock double
barrelled under-and-ovcr holster pistol by 1 .
Micharius, late seventeenth centun and a flintlock
double-barrel under-and-over pistol by I ). Egg,
London, with a detachable carbine butt, c. 1.S00,
also a colt second model dragoon revolver; a colt
<,(>. caliber Hertford revoking cylinder military
carbine, a German wheel-lock gun. dated [629,
and a combined wheel-lock and matchlock
arquebus, c. 1 s so, also an English stone-bow by
Dolep, London, late seventeenth century and a
German crossbow, early eighteenth century. 111.
Cat.
Tuesday. 1 5th October, and following day
Coins and Medals
the propertv ot James MacHarg, Esq., the late W.
E. Knowlcs, and other owners, including a small
collection ot choice English milled gold coins,
other English and foreign coins and specimen sets
in gold and silver, a collection ot naval and military
campaign medals, and other orders, decoration-,
and medals, including a Victoria Cross and a George
Cross. Cit. (4 plates), zs.
Tuesday. 1 5th October
Important Chinese Ceramics,
Lacquer and Works of Art
the property ot the late Mrs. Walter Sedgwick, LI.
F. Parfitt, Esq., Mrs. Elizabeth Eigncr, Mrs. Ellen M.
F. Sainsbury, Mrs. P. Czinner, duplicate pieces
from the Percival David Foundation ot Chinese
Art (sold bv Order ot the Governing Body ot the
School ot Orient il ind African Studies, acting on
behalf ot the Univei ity of London) and other
owners, comprising Ming porcelain, including two
early fifteenth century blue and white dishes, a
Hsiian Te copper-red and undcrglaze-blue bowl, a
Ch'eng Hua palace bowl with gourd vine, two
Ch'eng Hua ton ts'ai small bowls, a green Kinrandc
bowl, a small Imperial yellow bowl and sixteenth
century blue and white and enamelled wares;
Ch'ing porcelain, including a K'ang Hsi Imperial
yellow covered jar, Imperial yellow bowls, w ine
and libation cups, an Imperial ton ts ai winepot;
early Chinese ceramics, including Han vases and a
pair ot owl jars, T'ang figures and Korean wares,
fourteenth century dishes 111 copper-red and under-
glaze-blue, an unrecorded fourteenth century blue
and white Kendi; Ch mg export porcelain, in-
cluding a pair ot figures ot dogs, a pair ot large
flower-encrusted vases, a pair ot tureens from the a
la Pompadour service: works ot art, including jade
vases and bowls, cloisonne enamel Koros, dishes
and vases, a group ot cloisonne' birds; lacquer,
including an early fifteenth century box with a
dragon, a black dish with mandarin ducks, a black
lotus dish and lac burgaute dishes and sixteenth cen-
tury carved and incised pieces. Cat. (38 plates), 14s.
Tuesday, 1 5th October
Fine Japanese Works of Art
the property ot Lt.-Col. C. E. Blad, ot St. Peter
Port, Guernsey, CM., and other owners, comprising
a collection ot nctsuke, including works by Tomo-
tada. Mitsuhiro, Kokusai, Okatomo, Shumin,
Mtnko, Kokci, I ametaka, Masanao ot Yamada,
Hogen radayoshi, and unsigned wood and ivory
nctsuke; a tine collection ot 11110. including works
by Zeshin, ["okasai, Shiomi, Mas. man, Kajikawa
and others, and good kagamibuta and armour. Cat.
(78 plates), [Oi".
Wednesday. 1 6th October
Fine Nineteenth and Twentieth
Century British and Continental
Paintings
the property ot Lady Mowbray, Lady Irving, the
late Sn A. Chester Beatty, and other owners, in-
cluding narrative w orks by E. de Balsa, M. Blum,
A. Brandeis, W. Bromley, T. S. Cooper. M. Du-
verger, J. W. Godward, A. Grimshaw, |. F. Her-
ring, E. Hunt, Y. King. B. W. Leader, H. S. Marks,
I*. Sadee, R. Santoro, W. Shaver, A. 1 rcvani, S. E.
Waller, and T. Webster. Dutch paintings bv P. C.
i )ommersen, K. Heffncr, A. Hulk. 1 1. I'. Koekkoek,
M. A. Koekkoek. W. Koekkoek, J. |. Schcnkel,
C. Springer, f. II. Verheijcn, and examples by I.
C. Aivazowski, |. W. Carmichael, E. Ciardi,
F. Danby, M. Dawson. A. Goodwin, W. Havcll,
1 :. Knegliotf, J. Linnell.G. W. Mote, W.J. Mullcr,
E.J. Niemann. S. Is. Percy, E. Stannard, R. L'nter-
berger, J. Webb, and G. Webster. C\it. (s plates), 65.
Thursday. 1 7th October
Fine English Water Colours and
Drawings of the Eighteenth and
Nineteenth Century
the property ot the late S. Rowland Pierce,
F.R.I.B.A., F.S.A., and other owners, including an
1 ill
important Italian composition by Jonathan Skclton,
nautical compositions by Chambers, Gooden, Joy
and Sunn. ml, a scries of views in the Middle Hast
and India In William Clerihew, drawings of archi-
tectural and antiquarian interest, and examples In
Callow, Chinnery, Cotman, Cox, Darnel, Dcvis,
Dc Wint, Gaudy, Holland, Lear. Leitch, Muller,
Prout, Pyne, Roberts and Hooker. Cat. (14 plates),
<>s.
Thursday. 1 7th October
Important English and Irish Silver and
Plate
the property of Mrs. Rosamond Madge, B. A.
Franklin, Esq., I. C. Cameron, hsej., H. Fisher-
White, Esq., A. C. Kenrick, Esq., Cecil H. King,
Est]., and other owners, including two caudle cups
and covers, 1662 and 1003, a salver on foot, 1077, a
caster by Joseph Sheen, 1 699, a hexafoil salver by
Anthony Nelme, 1722, a dessert dish by Paul dc
Lamcric, 1724, an Irish bowl by W. Williamson,
Dublin, [736, an Irish beer jug, Dublin, 1738, a
silver-gilt centrepiece by Philip Cornman, 1 Sod, a
pair of silver-gilt wine coolers bv H.J. Smith, 1810,
nine sets of candlesticks ranging from lyori to c.
[815, numerous George I, 11 and 111 coffee pots,
salvers, waiters, sauce tureens and boats, plates and
trays and a few early spoons. Cat. (35 plates. 1 in
colour) 1 2s.
Friday. 1 8th October
English and Continental
Furniture, Rugsand Carpets
the property of various owners. 111. Cat.
Monday. 21 st October
Important English and
Continental Portrait Miniatures
(second portion)
the property of the IVustces ol the late Mrs. F. H.
O. dc la Hev and the propertv of Major H. M. O.
dc la I lev. 111. Cat.
Monday. 21 st October, at 2.30 pm
Russian and Greek Icons and Objects
of Vertu
the property ol various ow ners, including a Russian
icon ot our l_.id\ ol the Burning Hush, seventeenth
century, a Russian icon of the Mother ol ( loci of the
Sign, sixteenth century, a Russian icon ol St.
Demctrios ol Salonika, Stroqonofi School, late
sixteenth century, a Russian icon ol the rrans-
figuration, StrogonoH School, 1. if>oo; a wax por-
trait ol (allies Watt In Peter RoilW, dated [803, a
|ames II silver snull box, 1. 1685, a George III l»old
snuM box, London 1812, also Chess sets, Encdisli
enamels and Russian w oi ks ol art. ( !at. ( 1 plate), 2s.
Monday. 21 st October, and following day
Printed Books comprising
The Celebrated Collection of
Science and Surveying (last portion)
the propert) ol C. I. Kenney, Esq., F.A.S.,
F.R.I.C.S. 111. Cat.
Tuesday. 22nd October, and
following day
Fine English Pottery and Porcelain
the property ot Mr. and Mrs. G. B. Slater, Mrs.
E. L. Nicholson, a Collector, and other owners,
comprising Chelsea wares and figures, Chelsea
tins. Bow figures, Derby figures, Longton Hall
porcelain, also a collection of English delftware
ot the seventeenth and eighteenth century. 111. Cat.
Tuesday, 22nd October
Egyptian, Western Asiatic, Greek,
Etruscan and Roman Antiquities,
Islamic Pottery, Indian Sculpture,
African, Oceanic, and
Pre-Columbian Art
the property of various owners. Cat.
Tuesday, 22nd October
Continental Literature, Modern
Illustrated Books, Important
Periodicals and Works of Reference
the property ot various owners, including a series of
autograph letters from Thomas Mann to his friend,
(I. M. Richtcr, and presentation copies ot his works,
books illustrated with original lithographs, etchings
and woodcuts, by Bonnard, Braque, Duty, Laurens,
Matisse, Miro, Picasso, Rouault, Stael, Toulouse-
Lautrec. Villon, Vlaminck and others. Cat.
Wednesday. 23rd October
Old Master Paintings
the property ot the Rt. Hon. The Lady Vansittart
(removed from Dcnham Place), Lady Mowbrav,
and other owners.
Thursday. 24th October
Fine English and
Foreign Silver and Plate
the property ot various ow ners. 111. Cat.
Thursday. 24th October
Veteran and Vintage Vehicles
To be viewed and sold at The Royal Horticultural New
Hall.
Friday. 25th October
English and Continental
Furniture, Rugsand Carpets
the- propert) ol various ow ners. III. Cat.
Monday. 28th October, at 2.30 pm
Fine French Paperweights
the property ol various owners, nu hiding attractive
nnllefiori weights, good flowers and bouquet
weights, a tine St. Louis moulded sa. inlander weight,
and a vein rare St. Louis encased green overlay
weight. III. Cat.
Monday. 28th October, and follov ad,
Printed Books
the property of various owners. Cat.
Monday. 28th October, and follow m
Oriental Ceramics and Works Ar
the property of various owners, includin loiy
enamels, jade and hardstone carving hps
porcelain, early Chinese wares, Familh A
Famille-Rose porcelain and blue and w ev;
111. Cat.
Tuesday. 29th October
Sporting Prints, Naval and Mil arv
Prints, Decorative Subjects ar
Views
the propert}' ot R. E. S. Tanner, Esq., ' s. (
Goodacre, the late Stanley Morison, Esq. ul<
owners, including racing and foxhunting 1-111
or atter Aiken, Grant, Herring, NewhouToi
Shayer, Stubbs and Wolstenholme; tu
atter Constable, Reynolds, Wright of I ;bv
Zoffany; J. R. Cozens, Studies ot Treeyhe:
edition, a good early edition ot the ork
Hogarth, John Nash's Ren al Pavilion at ill
a group ot London views by Thorn Sb
Boys, other views ot Ireland, France, S\ ?eri
Italv, North and South Africa. Cat. is.
Wednesday, 30th October
Eighteenth and Nineteenth cer ir,
Paintings
the property ot various owners, including ori
L. Bundy, O. Clare, W. Collins, W. Gr< 1
Herring, Sir H. Hughes Stanton, E. Hu J.
bell, W. C. Knell, L. de Koningh, T. I
Meadows, A. Musin, E.J. Niemann, J. ' ib
R. Santoro, W. Clarkson Stanfield, E. I I
T. Webster and A. Vickers. Cat. is.
Thursday. 31 st October
Fine Jewels
the propert) ol various owners. 111. Cat.
Thursday. 31 st October
English and
Continental Silver and Plate
the property ol various owners. 111. Cat.
Friday, 1 st November
Good English and Continental
Furniture, Rugs and Carpets
the property ot various owners. III. Cat.
The Connoisseur, < 'ctobcr, 1968
I IV
vwYork S.J.Shrubsole London
Old Sheffield Plate
Set of three
George III Dredgers.
London 1748.
By Samuel Woods.
Height: Centre dredger 9h in.;
Pair 8i in.
Weight : 45 oz.
LONDON
7 \,^7" • .
Antique English Silver
EW YORK
Antique Jewellery
George II Cake basket.
London 1741.
By David Williams.
Length: 13.3 in.
Weight : 64 oz.
Arms of Blackwell, Ampney Park.
New York.
NEW YORK
4 EAST 57th STREET 10022 PLAZA 3-8920
-moer or The National Antique and Art Dealers
soc iation of America Inc.
LONDON
43 MUSEUM STREET W.C.I HOLBORN 2712
Member of the British Antique Healers' As.ociation Lid.
painted with exotic birds, and with snails, and other insects.
Red anchor mark. Circa 1755/60. Height: 9? inches.
8PINK
Founded 1666
ORIENTAL ART ANTIQUE SILVER EUROPEAN GLASS & PORCELAIN ANTIQUE FURNITURE
ENGLISH PAINTINGS & DRAWINGS CLASSICAL ANTIQUITIES COINS MEDALS & ORDERS
ft
Spink 4 Son Ltd., King Street, St. James's, London, S.W.1. Telephone: 01-930 5275. Cables: Spink London, S.W.1.
American banking
Jnd Georgian elegance
83 Brook Street London
CLIFFORD MUSGRAVE
- r a time when many business organisations arc hastening to
|| establish themselves in brash, featureless new modern
;tures of concrete and glass, the Manufacturers' Hanover
it, America's fourth largest bank, have, on removing from
• old offices in Mount Street, shown commendable taste and
eminent in choosing to establish their new Mayfair office in
don in an elegant early Georgian building at No. 88 Brook
:t, conveniently across Grosvcnor Square from the American
>assy, and opposite the American Chamber of Commerce,
friginally built tor Lord Northampton in 1729, the house has
1 carefully and sympathetically restored and adapted to offer
ic facilities of a modern bank together with the gracious com-
> of a fine London town-house, over the period of a year,
er the direction of the Bank's Vice President, Mr. Dwight A.
ne, with David B. Waterhouse, AR1BA, of Messrs. Watcr-
se and Ripley as architects.
A number of distinguished owners and residents have lived 111
the house. In 1758 it was occupied by George Townsend, the
first Marquess, and one of Wolfe's generals in Canada, who, after
his leader's death on the heights of Abraham, was in command of
the British troops when the French capitulated at Quebec.
Other celebrated residents have included Lord Bolingbrokc
(1761-66), the Earl of Ossory (1767-74), and Mr. William
Leveson Gower (1840-61) followed by his widow (1862-73). It
would appear from a very heavy rise 111 the rates of the house
between 1780 and 1785, when the rateable value of other houses in
the same street remained at their existing level, that the house was
at this time altered and enlarged, apparently by the addition of
an extra storey above the present mam cornice. It was probably at
this period that the interior was redecorated in accordance with
the delicate and elegant new classical style of ornament intro-
duced by the Adam brothers.
he Exterior. The well-ordered and beautifully proportioned facade
onted with deep-toned purplish-brown brickwork, white pointed,
a stuccoed bottom storey, and set off by an elegant Ionic porch. The
th storey, above the main cornice, was probably added and the roof
d c. 1780-85.
2. The Reception Room. The Adam decoration of 1780-85 in several tones of
green, and the green and white marble Adam chimneypiece remain here
almost entirely unaltered. The urns are of Pontypool japanned ware, the
bracket clock is seventeenth century, and above is H. W. Pinkham's
paintingof Lancaster Castle, signed and dated 1849-53 ;see No. 10. The drum
table is Sheraton, c. 1805. On the far wall is Clarkson Stanfield's fine view of
Culzean Castle, Scotland (see No. 17), one of Robert Adam's finest build-
ings.
Vice-President's Office. The original character of the early Georgian
ding is expressed in the cedar-panelled walls with a finely-carved
lillion cornice of modern workmanship. The Adam spirit of the later
(es of the interior is embodied in the splendid Adam-style vaulted
ng, also modern, in deep Pompeian red relieved by white ornaments
J Wedgwood blue backgrounds to the plaster figures. The marble
I hlace is of the Adam period, and the fine upright looking-glass, with its
|' e crest, is English Regency.
I Banking Hull. Once the Ballroom, this has now been sympathetically
I rtcd for modern purposes retaining much of the opulent French-style
I jration of Edwardian days. The plasterwork frieze of children, dogs,
I and monkeys is of special interest. Beyond in the Fountain Court is a
I isome fountain carved with dolphins, lead urns and stone sphinxes.
3. Ground floor office. Here again the Adam decoration of 1780-85 survives
almost untouched, in pale green and white, with an Adam period crystal
chandelier and Adam marble chimneypiece with an exceptionally fine
steel grate. Above is the view of Westminster by William Marlow (1740-
1813) ; see No. 9.
4. The Staircase Hall. The sumptuous character of the mctalwork and the
breadth of the stairs express the florid French spirit that was favoured by
society hostesses in the Edwardian period. The painting on the left-hand
wall is a view of Windsor Castle by Jan Siberechts (1627-1703); see No. II.
5. f /'/'it part of the Staircase Hall. The walls are of French sttic, with panels
of putti; the mctalwork is black and gilt, and the chandelier is of the early
Empire period.
6. The Ladies' Powder Room, originally the Boudoir, is decorated in the
French taste with white panelled walls ornamented with delicate mould-
ings and swags of leaves and ribbon. The modern savonnerie type carpet
has a gold centre ornament and flowers on a blue ground. The furnishings,
chairs, wall-clock, wall-sconces and ormolu candelabra arc of Louis Seize
character.
Apart from the prevailing Adam character of several of the
rooms, the house richly displays in other parts evidences of the
French taste which was so strongly favoured by society hostesses
in late Victorian and Edwardian days, when no doubt the house
w as .1 centre of brilliant and opulent entertaining. In this way the
house today represents two extremely interesting phases in
decorative style as applied to what Robert Adam referred to as
'the parade of life'.
I he decorative aspect of the interior has been heightened by
carefully chosen items of English Georgian furniture, commend-
ably restrained m spirit, and by a particularly distinguished
collection of paintings, chiefly English landscapes from the time
of Charles II to the Victorian period, but including very appro-
priately a portrait of George Washington (No. S) by James
Sharpie's (1750-181 1). The first President sat to him 111 [796.
On entering the house, through a fine pair of ironwork and
glass doors leading into the Vestibule, one is immediately struck
with a sense of elegance and dignity created by the light-toned
walls of 'French stuc' with their modelled overdoor panels of
putti representing the Seasons; the floor of pink and grey marble
framed in black and white; and the fine octagonal gilt lanterns.
The furniture includes a handsome early Georgian carved
mahogany sidetable with claw-and-ball feet and a pair of Adam
looking-glasses. Mere, also, hangs Siberechts' View 0) Windsor
Castle from the Hirer (see No. 1 1).
A new visitor will probably be invited into the Reception
Room (No. 2), where the delicate Adam decoration of 1 7S0 to
1785 has been preserved almost unaltered, and is now painted 111
various tones of green with white ornaments. Among the
decorative motifs are ornaments of wheat-ears used as Prince of
Wales s feathers, a device of the Adam and I lepplewhite
period that found especial favour 111 the United States where
wheat represented to the pioneers a source of life. The Adam
fireplace, of green and white marble with Corinthian column
supports and extremely finely designed steel grate, the Frei 1
gilt branched chandelier, the Sheraton drum-table and the pai -
ings of Lancaster Castle (No. 10) and Culzean Castle (No. )
combine to make this a very handsome room. Across the ] -
trance Hall opposite a smaller room with Adam decoration ; 1
marble fireplace, and a crystal chandelier, is furnished as an oft .
Marlow's I 'iew of Westminster (No. 9) is hung here.
Returning to the Vestibule one passes through to the Bank j
Hall (see colour plate), cleverly adapted from the original B -
room. The decoration is of the French character adopted in >
Edwardian phase of the house, with arched window-frames ; 1
wall-panels and delicate plasterwork ornament of scrolls aj
foliage. The frieze, Adamcsque in its scale of ornament, but fil-
ing naturalistic motifs of children, dogs, cats and monkeys' s
especially interesting. The colour scheme is white ornament \\ 1
grey mouldings and azure-blue walls. The gilt wall-sconces an t
Louis Seize character and the gilt and crystal chandeliers :
Empire. The portrait of George Washington (No. 8) on 03
wall confronts John Glover's I 'iar of Northwick Park (No. I)
opposite. Here, as throughout the house, the doors are if
mahogany and particularly handsome, and the carpet is a pi 1
Wilton of a deep gold colour.
Large glass doors opposite the entrance doors afford an tnvit*'
glimpse of the Fountain Court beyond the Banking Hall (;
colour plate), and this is reached by three steps with a charm:-;
black and gilt metal railing that marks off a small square lob '
from the Hall. The Fountain Court gives a remarkably handso :
and dignified impression with its high stone walls and black £ 1
white marble floor. The fountain itself is 111 the form of a ba-i
carved as a huge shell, into which the water pours from a broi i
mask of a river-god. This is surmounted by an arched mould:;
and a vase of flowers carved in stone and flanked by carved stffl!
dolphins. Lead urns and stone sphinxes complete the compc-
tion.
7. The Board Room. Here the panelled walls are painted a rich golden- yellow, toning with the deep gold carpet. The curtains are of blue dam; .
repeating the colour of the blue leather-covered Chippendale chairs. The table, on three claw-pedestals, is Sheraton, c. 1790. Upon the walls are hi j
a fine series of watercolour draw ings of Windsor Castle by Paul Sandby , and part of the interesting scries of engravings which form an important ] t
of the collection at 8H Brook Street.
George Washington (30 25 inches), by James Sharpies (1750-1811).
e first President sat to him in 1796. The portrait achieved such wide
tularity that many copies of it were made by the artist's wife, and
lghter Rolinda. One of these copies, the work of Mrs. Sharpies, is in the
tional Portrait Gallery, London.
\eturning to the Vestibule one's eye turns to the staircase I l.ill
0, 4) with its unusual but remarkably inviting wide stairs,
viously a feature of great importance in a house where lavish
;ertaining was carried on. It is in the floral scrolls, swags and
Lding of the mctalwork railing that the opulent French taste
bpted in Edwardian times perhaps reaches its handsomest
pression in the house. The design of the stair-rail is repeated
■ the railings placed at a window and a w all-recess on the stair-
|iy. Each of these incorporates a motif of gilt crossed torches and
wers in the design, while another panel 111 the rail on the upper
lding embodies the device of a basket of flowers and foliage.
)m a deeply moulded circular ornament m the ceiling hangs a
e Empire chandelier. On the upper landing further moulded
ucls of putti are found as overdoors, as 111 the Vestibule below,
d here also are hung Dankerts' pictures I 'icir oj the Thames ami
j Paul's (No. 13) and I lew of St. James's Palace (No. 12).
From the up pel" corridor one reaches ,1 room used foi private
I crviews with clients, know n as the "Officer's Platform . Here
lain the rich French taste is evident, in the fulsome modelling of
I: swags and pendants of leaves, the emblems of masks, appar-
tly representing the Theatre, and in the arched window-
lines, overmantel mirror and wall-recesses. The overall effect
Ine the less is of great elegance and dignity. The fireplace is in
[ve-grcy marble and of Louis XIV design, with a remarkably
l e cast-iron tireback and side-panels representing trophies of
flppons, shields, foliage, figures ot putti and a medusa he.nl.
ithing obtrudes upon the rcstfullv plain surface of the walls but
tin Anderson's fine painting I lew <>/ the Thames and the Houses
Parliament (No. 14), and an exceptionally handsome mahogany
ill-clock by Vulliamy.
On the opposite side of the first-floor corridor is the Vice
esident's Office (see colour plate). I lere a considerable amount
adaptation was ncccssarv to make the room suitable tor its
odern purpose, and the opportunity was taken to re-create,
place of the existing Edwardian decoration, already more
ndsomely expressed in other parts, the character both ot the
iginal early Georgian interior of the house and of the re-
coration ot the Adam period in [780-85. Accordingly the
tils have been lined with golden-brown cedar panelling, set
f by a richly carved modillion cornice, and the room has been
ven an Adam fireplace and a vaulted ceiling decorated in
dam style, with strings ot husks linking medallions ot female
;urcs representing the Arts. The surface of the ceiling is in deep
impeiian red relieved by backgrounds of pale Wedgwood
ie to the white figures in the medallions. An upright gilt
Jung-glass with an eagle cresting, of the English Regency
Tiod, hangs above the fireplace, and opposite a handsomely
rved bookcase of architectural scale and proportion has been
A View of Westminster (36 28 inches), by William Marlow, embodies a
e view of the Abbey and of Old Westminster Bridge and the river. A
;nly gifted topographical artist, Marlow, born in 1740, was a pupil of
ott and a regular exhibitor at the Royal Academy from 1788 to 1796, and
• the last time in 1807. He is especially noted for his scenes on the Thames
J round about Richmond, and at Twickenham, where he died in [813.
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Waidsar Castle from the River (54 30 inches). By Jan Siberechts. This
? painting, hanging in the Staircase Hall (see No. 4), shows Windsor
xle in the late seventeenth century long before the romantic additions
de by George IV w hich give the Castle its present picturesque outline,
erechts. born in Antwerp in 1627, was brought to England by the Duke
Buckingham and painted views of Chatsworth. Longleat. and other
atcoontry houses. He died in London in 1703.
12. I'ieu- of St. James's Palace (22 40: inches), by Hendrik Dankerts, is one
of tw o important works by this artist in the collection at 88 Brook Street.
Born at The Hague about 1630, he was invited to England by Charles II,
who employed him in painting views of the Royal palaces and of British
seaports. He died in Amsterdam about 1678.
The Secretary s Office on the first floor, and two room- on
the -econd floor, the Board Room (No. 7) and a room tor visiting
executives, are decorated and furnished reticently in appropriate
period character, and give opportunities tor the displav of the
excellent collection of eighteenth and early nineteenth centurv
watcrcolours and engravings, including works bv Rowlandson.
Pugin, Daniell, Sutherland and others, which form an important
part of the extremely interesting collection of pictures gathered
together at ss Brook Street.
13. View of the Thames and St. Paul's ill ] 45. inchesl. by Hendrik D-
kerts. One of the many views of the seaports of Britain painted for Cha
II by Dankerts. this work shows Old St. Paul's w ith royal barges in
river foreground. There were about 2S landscapes and views by
master in the collection of James II.
1
14. View of the Thames and the House of Parliament (30; 71] inches),
John Anderson. Signed and dated 1878. Anderson was active in Engl,
between 1X58 and 1SS4. He exhibited at the Royal Academy and
British Institution, also at the Suffolk Street Galleries.
**** V* *1
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WtiewofNorthwick Park (44; 72 inches), by John Glover. This splendid
a scape, one of the most important paintings at 88 Brook Street, hangs
n le Banking Hall opposite the portrait of George Washington. It was
ierly owned by Captain Spencer-Churchill, of Northwick Park,
lccstershire. John (.lover u.is horn in 1 7'>7- and ..Iter practising and
ling art in Lichfield he came to London in 1805, becoming President
tie Water Colour Society in 1815. Being unsuccessful in obtaining
lemy honours, he assisted in the founding of the Society of British
its in 1830. The following year he emigrated to Australia, and died in
I nania in 1849.
Zulzean Castle, Ayrshire (20 25 inches), by William Clarkson Stan-
, R.A. (1793-1867), representing one of Robert Adam's finest archi-
ural works, is especially interesting in connection with the Adam
od decoration at 88 Brook Street, and because of the firm's American
i::ciations; former United States President and General of the Army
fight D. Eisenhower having been presented with the use of the top
If r of the castle as a residence during his lifetime. The picture is a
:| ndid romantic painting by one of the most popular British artists of
:1 ?arly nineteenth century.
■
1
16. .4 Grand Spectacle (II j 25 inches), by an unidentified artist, is an
amusing small work hanging in the Reception Room. The title is expressed
as a visual pun in the illuminated decotation of the shop-front of 'West,
working optician', and being dated November Qth, 1837, refers apparently
to the Lord Mayor's Show of that year. The newly elected Lord Mayor
may have been the optician himself.
Grateful acknowledgement is made to Mr. Angus Lloyd and to Mr.
Peter Johnson of the Lowndes Lodge Gallery, Sloane Street for in-
formation regarding the pictures and for the use of photographs of the
paintings.
The Abbey of St. Gall and its
library. Part % The Manuscripts
WALTER DE SAGER
TN the early nineteenth century the secularisation of the
L monasteries in Central Europe reduced main- of the great
baroque libraries to mere empty shells. A notable exception was
the Abbey Library of St. Gall, which remained intact even after
1805 when Napoleon ordered the dissolution of the Monastic
Territorial State, at w hich time the name of St. Gall was adopted
by the newly-created Canton of the Helvetic Confederation (see
The Connoisseur, February, 1968).
It is not because of its size that the St. Gall Library is pre-
eminent— there are others much larger — but because among its
hundred thousand volumes is a unique collection of first edi-
tions together with some 1,700 rare incunabula. Most cherished
of the treasures are the two thousand irreplaceable manuscripts
dating back to, and even ante-dating the Middle Ages, which
were written and illuminated within the Abbey's precincts in
Irish. Carolingian and Ottoman style; others derive from the
Abbcv s renaissance in the fifteenth and sixteenth centuries. Thus,
among the great scriptoria St. Gall with its long unbroken c -
tinuity is distinguished by a tradition peculiarly its own. I t
surprisingly it has become an inexhaustible arsenal for resear .
prized by the philologist and the palaeographer, the historian ; i
the liturgiologist; a source which in many respects is unrivallct \
the world of art, literature and science.
The library had its inception in 612, when Gall the Irishm
went up from the shores of Lake Constance into the trackless moi -
tain valley of Stcinach to build a cell for himself. Following in ;
footsteps of the Columban monks, he enriched his soliti s
through study; some of his books he probably brought with r 1
from Ireland; others he may have written himself: perhj .
instructus de scripturius ac plenus sapientia. He may also h
instructed his pupils in the art of writing. The celebrated Vo -
bularius Sancti Galli, which as Codex 913 is preserved in .
Abbey Library, was thought to be the 'little book' belonging to .
Gall himself. But recent research has refuted this ascription ; i
1. St. Gall, the Irish missionary, with attribut t
Bear carrying a log (see p. 71, The Connoiss ,
February, 1968). Silver, partially gilt, heigh ■>
cm., pedestal ebony, with coat of arms of ;
Prince- Abbot of St. Gall, Bernhard Midler 1
Ochsenhauscn: goldsmith mark R3 464 for F s
Jacob Blair (1574-1628), a native of Mera ,
settled in Augsburg where he became (It )
Master of the Goldsmiths' Guild.
2. St. Othmar, the first Abbot of St. Gall, c i
in exile. His attribute the small wine cask wl 1
supposedly never emptied during the jour ■
when his remains were brought back to :
Abbey of St. Gall (mark and goldsmith as in ! .
1). Both statues were recently exhibited ('At -
burg Baroque') lent by the Cathedral Trcas
of St. Gall (see The Connoisseur, SeptemH
1968).
y. Facing page. Initial letter 'Q' (Quid gloriasi 1
malitia qui potens es in iniquitate) from the I
chard I'salter, written in Carolingian scr;
circa 860. On three sides the richly interla
gold lines ot the ornamented letter end in anil
heads and almost completely cover the gr
cross. The Irish influence is most clearly app
cut in the fantastically interlaced scrolls, volui
filigrees and mosaics, typical of miniatures, I
in the illuminated initials of the St. Gall mat
scripts, and in the preference lor decora!
colour schemes and half-tones (< I also Nos. H
9). Codex 23, Sliftsbibliothek, S(. (.all.
7»
aces the origin of the book in the next century. In fact, neither
c books St. Ciall possessed when lie came to Switzerland nor
ose he wrote there have survived. Very likely they vanished in
e early storms that raged about his cell.
\bout a century later, Othmar the Aleman b< '> to enlarge
.all scell into an abbey, enduing it with qualities both spiritual and
mporal. Then, some hundred years later (about 81 ing the
bacy of Gospert, the fully-fledged Monastery of Sr. C . 1 ei vi-
ed upon its golden age. It became the 'Educator of Alemannia .
and one of the cultural foci and a reflector of the brilliance of tin
Cisalpine Occident. 'The learned abbots and thecrcativemonksof
this century', Monsignor Dr. fohannes Duft the present distin-
guished librarian notes, 'became an essential part of European
cultural histor) .
Samuel Bcrger, a noted French scholar, who has left a grapl c
and detailed description of the Library, believed that it was 'i ie
79
mm
B
4. Extreme lift. The ivory tablet comprisin; he
front cover of the'Evangelium Longum',C :x
53 (for the reverse cover see The Conrtoii it,
February, 1968).
5. Book cover of Codex No. 60, ninth cen Jj
both carved by Tuotilo. During the Golden ;>e
of the St. Gall scriptorium many of the m |gj
were active and creative in every branc c,
learning: Tuotilo (d. 913) was renowned a
painter of miniatures, as an ivory carver, a ».
tect, composer, poet and teacher of the s en
liberal arts. Stiftsbibliothek, St. Gall.
bibliotcque qui n'a jamais etc deplacee', which is more rhetorical
than literal. For it is known that the books were removed on three
different occasions. Indeed, that this library is still intact today
could be reckoned as another of the miracles in the 'Vita S. Galli'.
In 925, during the Hungarian invasion, the manuscripts were
hastily taken to the Benedictine Abbey of Reichenau on an island
in Lake Constance. Tradition asserts that the correct number of
codices, but not the identical manuscripts, were returned. For
instance, a Priscian Grammar mentioned in the oldest St. Gall
catalogue was replaced by an earlier and more valuable manu-
script (Codex 904) by the same author. Doubtlessly the monks of
Reichenau were overjoyed at being rid of the illegible, even it
original, "Liber scottice scriptus , inscribed on inferior parchment
w ith old Irish glosses 111 a quantity not manifested by any other
similar codex. In exchange for it they obtained a 'modern'
version copied by the monks of St. ( rail.
A succession of calamities continued to bedevil the Library. In
the confusion which followed a disastrous fire in 937, from w hich
it had a miraculous escape, a number of volumes w ere reputed to
have been stolen. When a period of decline set 111, attributable to
the improvidence of certain abbots, some of the valuable codices
had to be sold to replenish their coffers. Later, however, a few
were redeemed. Even more disastrous, the script on man\ leaves
of the manuscripts was obliterated so that the parchment could
be- useil again. I'aurs from other codices, as will as from original
charters, we re' also c ut up to be employed in the binding of other
books. It is well that sour- of these mutilated fragments were
rescued and are- now preserved in si x volumes.
I Ik- Library suffered further depredations from visiting
ecclesiastics w ho came from all parts of the Continent to attend
the- Council ol Constance (1414-18) ami (hat <>l Basle- (1431-
I';). 'Borrowing' freely and without scruple, they despatched
the- precious booty across the Alps from where few pieces were
returned. Among these- nu n were three of the most cultured
figures of the Italian Renaissance: Poggio Braccioloni and Ccncio
and Bartolomco el 1 Monte I'oliti.mo. It is said thai w hile they were
6 and 7. Below iind .if right, see caption opposite.
1 1) a s ■ n p£ a. cij i s 11 imminva
L I A' A L 1 A. A. y M ■ \ 11 All L 1 a
So
jf id 9. Right. Initial of Evangelium-Initium,
e' ith century, written in bold, well-rounded
I 1 majuscule script. Celtic art, then rlourish-
I in Ireland and Northumbria, contributed its
I al forms and interlaced patterns, as illustrat-
c 1 the two folios from the Irish Gospel, and in
t border of 'The Last Judgement' (9), Codex
= ,tiftsbibliothek, St. Gall.
If
It!
n
1 1
sic CkoQEE
id 7. Below and left. Miniatures from the 'Psalterium Aureum' — the
den Psalter — in Carolingian script, completed in 910, when the Scrip-
um of the Abbey was at the height of its fame. At the left David is sally-
forth behind a mediaeval dragon standard to destroy hi;, enemies.
( lex 22 folio 140 and 141. Stiftsbibliothek, St. Gall.
c.
-
J
in Constance they obtained as a 'loan' two cart-loads or manu-
scripts, including a complete Codex of Quintilian's Institutio
Oratoria. Poggio copied the Quintilian in fifty-four days and sent
the transcript to Florence. In 1417, while still at St. Gall, he comb-
ed the shelves for works by classic authors, and together with
Ccncio boasted to their Florentine friends of their rich finds
without, however, revealing the source.
Of wider significance was the presence at the Council of Basle
of Aeneas Silvio Piccolomini, a scribe who must have perused
many of the St. Gall manuscripts, if one is to judge by his cele-
brated 'Euryalus and Fucrctia', a classical love story, w ritten in this
city. A decade later he was elected Pope Pius IF His literary
experience during the Council of Basle prompted him to found
the city's university, the first in Switzerland. But he is also
remembered as the author of profound scientific and poetic
works, all showing a close affinity with the St. Gall scriptorium.
Of equal importance was the establishment of the 'Biblioteca
Medicca Laurcnziana by Cosimo di Medici, which coincided
with the Council of Basle, and which suggests a tie with the
Florentine scholars who so liberally plundered the Fibrary of St.
Gall at the time of the Church Councils.
To protect the conventual libraries in Switzerland and
Germany from further depredations, orders went out from the
Congregation of the Benedictine abbeys in the Province of
Mainz, to which St. Gall then belonged, ordering that each
monastery should appoint two precentors as guardians with full
powers to prevent the unauthorised removal of codices. A com-
plete inventory of the St. Gall Fibrary was compiled; each codex
received a press-mark and it necessary was rebound. Yet incom-
prehensively, main' of the ancient leaves were removed and after
being cut into strips, were used for the new bindings.
While the first catalogue compiled in the ninth century lists
some four hundred illuminated manuscripts, their number hail
increased by 1461 to well over five hundred. Thus, it will be seen
that the number of manuscripts produced betw een the tenth and
thirteenth centuries more than compensated tor any previous
losses. In point ot tact, the monks of St. Gall diligently copied
hundreds of classic and sacred manuscripts, many ot which w er
masterpieces of caligraphy and decorative art. The degree « I
81
learning possessed by these men was profound; .is their teachers
they had the most enlightened scholars and authors. During the
ninth and tenth centuries they transcribed Terence, Lucretius,
Salust, Cicero, Caesar, Virgil, Ovid, Vitruvius, Persius, Lucan,
Quintilian, Statins, |uvcnal, Lactantius, Claudian, Beothius, and
the ( Iranimarians I )onatus and Priscian.
In the Library were preserved important Creek manuscripts,
such as the text of the Psalter and the Gospels, as well as a copy of
1 )osithcus. Indeed, it is likely that many other Greek authors li.nl
their place on the abbey s shelves. Hence it is not surprising that
during the ninth century the monastery attained fame as an
academy ot scholars, poets, artists and musicians. (See 1'hc
Connoisseur, February, [968, page 72.) In few such establishments
w as the study ot Greek pursued with such zeal or attended by
greater success.
Often it is asked how, in spite ot Europe's turbulent early-
history, so many ancient works by the gieat classical authors have
survived to the present day. The Library with its unique record
provides the answer, tor here may be seen many examples of
ancient manuscripts w ritten 111 Italy, or Africa or Gaul, before the
collapse of the Roman Empire. Transcripts of these were made in
many scriptoriums in the eighth and ninth centuries, St. Call
itself being responsible for a large number of them. Later, in the
fifteenth century, Carolingian manuscripts were copied by the
Italian humanists, and then again reproduced on the newly-
invented printing-press. Ot this latter category St. Gall possesses
no less than 1 , 1 30 first editions made between the time ot Guten-
berg's invention ot printing and the fust two decades (it the six-
teenth century.
Seemingly insurmountable obstacles faced the scribes ot St.
Call in their earl) endeavours. One, Winithar(sec The Connoisseur,
February 1 968, p. 72) writes in the second halt of the eighth century
of" the difficulty of obtaining parchment of the right kind. I hat
which he has, he complains, is thick, coarse, patched or full of
holes. Yet even when confronted with crippling poverty the
monks carried on valiantly until, in the reign of the able Gospert,
the monastery was freed of material cares; under the succeeding
enlightened abbots, the finest quality of parchment was to be had.
Those scribes who were specially skilled were permitted to say
their office in private, thus leaving them tree to carry on witln
interruption. Although during the ninth century the Bene<
tine monks continued to adhere closely to monastic rule, w
each taking his turn in kitchen and bakery, all were encouragec
develop their talents as fresco-painters, architects, sculptors, go •
smith, calligraphers and scholars.
An early miniature shows us that the furniture in the St. (
scriptorium included a desk with a cushioned seat and a footst 1
facing a writing-board supported on a high stand. The scri ,
followed the advice of Vitruvius, the eminent Latin scholar a|
author, who maintained that a workshop should face eastl
ensure the best light during the morning hours, a southern
western exposure rendering them subject to moisture-laden will;
injurious to the manuscripts.
The reign of the Abbot Grimald (841-872), a powerful Frankji
noble and a profound scholar, saw the completion of the fx
catalogue of the Library's codices. It is still preserved as Cocj
728, and is recognised as an indispensable reference book by si
dents ot palaeography. A later copy lists those manuscripts whl
were written in Abbot Grimald's time, among them many vi
umes from his personal collection, which he bequeathed to f
Library together with those added under Hartmuot's abbacy (8*-
903). In a manuscript he has inserted an awesome curse on anyrJ:
guilty of stealing a codex. Hartmuot, like his illustrious pi
deccssor, combined the advantages ot noble birth with a h|
degree of scholarship. With him rests the credit tor the Abbe*
prodigious fame throughout the Western World.
Again during the thirteenth century the St. Call scriptorii
suffered another decline, which, however, was fortunately stc
med in 1430 by Abbot Alglof (1426-42), who summoned
monks from I lirschfeld in I lesse to assist in the reorganisation
the Abbey. Such was the Teutonic zeal with which they appl
themselves that the Prince-Abbot soon had cause to tear fort-
safety of his prerogatives. From then on the reputation of H
Abbcv as a centre of learning continued to grow, and the work]
copying and the acquisition of manuscripts was assiduous
pursued.
Looking back over the centuries it is clear that the monastd
benefited richly from the patronage of the Caroling
4
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r Sp!**<il.v.Vtifimi»TTiir tt/a
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10. Extreme left. Twelfth-century miniature
picting Notker Balbulus .is .1 pensive pool (c. K>
912) in his cell. He and Tuotilo were the 1
ourite students of the Irish monk Mociif
Balbulus composed .111 extensive body of wi
consisting of sequences, all of them rellcctin
new spontaniety and freshness ol feeling, St.
Archi\ es, Zurich.
11. Left. I he poetical renaissance cmanal
from St. Gall was inseparable from the iiiusi
movement thai spread from the Abbey acr
Europe and has outlasted the centuries. Noll
Balbulus has added explanatory letters ti>
Neumcs (or notes without staves, keys, bai
indication of the rhythm), thus marking
intensity and pile h of tone, the tempi. I. nr.
and pauses (see also No. II, p. 7<"'. The CflMW'
scar, February, 1968). Stiftsbibliothck, St. G.
X2
12 and 13. Two of the largest illuminated manuscripts in the Library of St. Gall are these
two Psalters by Wolfcoz and Folchard, Codex 23, folio 27 and 13, as well as that seen in
the colour plate.
iperors, especially during the reign of Charlemagne. 15m it was
iring the abbacys of Walto, Grimald, Hartmuot and Salomo
1-920) that the full impact of the Carolingian Renaissance made
df felt. However, it was during the middle of the ninth cen-
■y, when Bishop Marcus and his nephew Mocngal arrived from
land bringing with them a number of illuminated Irish
tnuscripts, that the Abbey experienced the strongest tide of
ih influence. Mocngal, as the leader of the Inner School,
ercised a most profound influence on education at St. Gall at
: very moment of its prime.
The situation of the Abbey of St. Gall in close proximity to
gin forests and the high mountain range of the Santis assured
in early life a solitude which was in main' ways highly pro-
ions to the 'incubation' ot scholarship. Hut a mere eight miles
'ay was Arbor Felix (Arbon), an erstwhile Roman settlement,
J nearby stood Rorschach, a thriving market town. Through
:se two latter passed one ot the Empire's great trade routes,
rich lead from Brigcnzic and Chur over the julicr (the road
er the [ulier pass, built by the Emperor Augustus, was the
iiest and safest route over the Alps) and Septimer passes, con-
sting the north with the south. 1 lence, a never-ending stream
merchants, pilgrims, soldiers, nobles and prelates and their
inucs passed constantly on their way to and from Rome. Soon,
wever, part of this traffic was diverted ewer St. Gall, along the
blic highway that connected the Abbcv and town, which
ter had already established a lucrative linen trade throughout
: Continent.
Before long the Abbey came to serve as an intermediary be-
,een East and West, and North and South. Close ties existed
hween Bobbio, the abbey founded by St. Columban, and Monte
ssino, the first of the great Benedictine monasteries Both these
Mian abbeys sent manuscripts over the Alps to be copied at St.
I 11. There were equally close relations between the lat 1 d the
endid monastic houses of the west: Tours, Rheims, Mctz ai d,
later, Liege. This generous interchange of ideas proved most
fruitful. For example, a rare eighth-century manuscript by Theod-
frid of Corbie was twice transcribed at St. Gall, the copies find-
ing their way to Wiirzburg and Italy.
The scriptoria of the Benedictines became the channel through
which the intellectual treasures of classical antiquity passed into
our modern w orld. The St. Call manuscripts demonstrate clearly
how most of the' masterpieces ot Latin literature were saved for
posterity through the arduous labours of the Carolingian scribes,
who thus constituted the connecting link between the waning
Roman Empire and the late Middle Ages. One of the lasting
services rendered by the monks of St. Gall over the centuries was
their uninterrupted transcription ot ancient manuscripts. In fact,
even in Italy there were tew monasteries whose actual achieve-
ment could equal that of St. Gall. Together with the Abbeys ot
Tours, Fleury and Fuhla is shared the honour of having done more
to diffuse classic learning than any other centre north of the Alps.
As early as 1451 the monastic territorial state of St. Gall was
admitted to the Swiss Confederation, but only as an associate
member. Three years later associate membership was also granted
to the city-republic, whose territory, covering barely half a square
mile, was completely encircled by the lands under the domina-
tion of the l'rince-Abbot. But this association ot Abbey and City
did not ensure protection to either party. I hiring the Reformation
the Burghers stormed the monastery buildings, destroying many
of its priceless treasures. Oddly, they were aided by the two
Protestant Cantons of Zurich and Glarus, who subsequently sold
the abbey buildings to the City-Republic of St. Gall. With the
advent of the counter-reformation this transaction was declared
null and void, and the monastery was restored to its Abbot. As a
precautionary measure he erected a w all thirty feet high, separat-
ing city and monastery. This separation was to stand until tl
dissolution of the Abbey (see The Connoisseur, February ioc
p. 69).
33
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4$
ME
It one considers the history of St. Gall as a whole, one has
admit that its contribution to European civilisation was based i
entirely on Irish, but also on Anglo-Saxon influence. Althou
the Library possesses to this day the oldest and the most numerc
manuscripts with Irish palaeographic traits and with so-call
'Irish Miniatures' — more, indeed, than any other library on t
Continent (excepting the Vatican and Paris), St. Gall's debt
Britain still emerges as immense. While it is true that Ireland pr
duccd many men of rare talent, no single scholar was responsil
lor such monumental works of learning as the Venerable Bee
N i) one left such enduring marks of organisation as St. Boniface, r*
Irish teacher did as much for education as Alcuin. In the aggrcg.i
the contribution of these three Britons to the greatness of St. Ga
even it only indirectly is something which cannot be ovcrlookcc
Appendix
14 and 15. The 'Psalterium Aureum', Codex 22, folio 160 and 147, is another
remarkable example of mediaeval hook production. Stiftsbibliothck, St.
Gall.
Again, in 1712, the Abbey was to find that its ties with the
Swiss Confederation availed it little when, in .1 dispute over
ToggCllburg one of the Abbot's domains, the Bernese and
Zurichois occupied the monastery, confiscated the greater part of
the library and sold the remainder at auction, with the exception
of n few volumes which had been entrusted to an eminent citizen
of St. Gall. With the restoration of peace the Bernese generously
returned most of their booty. The Zurichois, on the other hand,
made only partial restitution, retaining 1 SO priceless manuscripts
among which were a superb Quintilian, the poems of Statins,
Lucan's Pharsalia and a Priscian ( irammar.
In [798, the contents of the library were removed tor a third
time, to protec t them from the French revolutionary forces. But
in 1805, with the secularisation of the Abbes', everything was
restored. In the years that followed many notable accretions were
made always under a succession of highly enlightened librarians.
The turbulent tide of events which menaced the Abbey from
time to time resulted 111 the dispersal of man)' of its treasures. So it
is not surprising to learn that many precious manuscripts now
occupy the shelves of some of the worlds great libraries (see
Append] \). ( bodices lost to St. Gall from 1 7 1 2 on are often identi-
fiable by the book-stamp with the Abbey's coat-of-arms: a bear
rampant surmounted by a mitre and crozicr. Earlier losses are
marked 'Liber S. Galli'. laturgic.il manuscripts produced al the
Abbey contain mam references to local saints, such as St. Gall,
St. Othmar and St. Wiborada, to name a few. A magnificent
manuscript whk h has travelled far is to be found 111 the I lunteriaii
Library .it Glasgow. This fine specimen contains excerpts from
Servius's ( Commentary on Virgil's Bucolic s and ( leorgics, beauti-
fully written on vellum in the tenth century and rebound in the
seventeenth. Possibly it was part ol the spoil which fell into the
hands ol the Zurichois during the ci\il war, which was recorded
in the Si . Gall inventory of books confiscated 111 1712. Seemingly
11 passed into the possession of the Dutch philologist Pieter Bur-
mann, |r. (1714-78), w ho used it for his edition of Virgil (1746).
It was then acquired by Willi. im Hunter (1718-83), an ardent
book collector, w ho bequeathed it together w ith his entire
library to his Ainu Mater, the ancient University of Glasgow.
St. Gall manuscripts in other libraries
(This list is necessarily incomplete)
Aix-la-Chapelle, Stadtbibliothek.
Basel, Universitatsbibliothek.
Berlin, East, Deutsche Staatsbibliothek.
Berlin, West, Staatsbibliothek, Preussischer Kulturbcsitz.
Berne, Stadtbibliothek.
Bremen, Stadtbibliothek.
Einsiedeln, Stiftsbibliothck.
Geneva, Bibliotheque publiqueet imi versitaire.
Glasgow, University Library, Hunterian.
Lcyden, University Library.
London, British Museum.
Muhlhauscn, Bibliothck dcr Industriellen Gesellschaft.
Munich, Bayerische Staatsbibliothek.
Oxford, Bodleian Library.
St. Paul (Carinthia), Stiftsbibliothck.
Rome, Vatican Library.
Uhn, Stadtbibliothek.
Vienna, Ocstcrrcich Nationalbibliothek.
Wolfenbiittel, Herzog August Bibliothck.
Zotingen, Stadtbibliothek.
Zurich, Zen tral bibliothck.
;
Photography: Siegfried Lautcnschlagcr, St. ( ..ill : 1 . 2, S< hwittcr, A( I, Zurich, 3 ;|
I lildcgard Morscher, St. Gall: 4, 5, 6, 12-15; < lebriidcr Zuinbuhl, St. Gall, 7 and 8p
St.itc Archives, Zurich, 10; L. Uaumgartncr, St. Gall, 1 1 .
mm uh; r aimi y
'T he Irish Miniatures ill the Abbey of St. Gall' ; 'Die Stiftsbibliothck, I >ei liarock-
s.ial und seme Puttcn' . 'S.mkt t )tniar, I )ie Quellen zu scincin I cben', by Professor
I )i . 11 mi s I >ult, Stiftsbibliothck, St Gall; 'Die Schweizei isc hen Ijibliothckcn',
by I )r. Marcel lic< k. I ibrari.m ol tlic Swiss National I ibrary, Hern ; 'Notkcrs des
Dichters Hynnienbuch", b) Prol Dr. Wolfram von den Stcincn, liaselj'The Abbey
..1 Si < iall is. 1 ( lentrc ofl earning', by |. M. ( lark, I ondon; T 'Ait Irlandais'. Vols,
i-t, by F. Henry, Director ol Studies, University College, Dublin; 'Baroque
( Jiurchcs ut ( Icntral Europe', by |ohn Uourke.
/ should like lo express my thanks to the following foi assistance and advice received in the
preparation •>! these two articles: Prof. Dr. lohannes Duft, Stiftsbibliothck, St. (.'.1//; Dr.
Wernet Kampfen, Directoi SN'I'O, Zurich; M hit Boissonnas, Secretary-General,
Pro Helvetia Foundation, Zurich; M. Arinin Moser, Directoi of Nop, St. Gall; and M.
Willi Studer, the I lain, St. ( ..ill.
Vlfred Gilbert:
i new assessment
'art 2: the Clarence tomb
j T^HE Duke of Clarence was the eldest son of the Prince of
1 Wales. Heir apparent to the throne of England and engaged
> be married to Princess May ot Teck, he died suddenly on
unary 14, 1892. His monumental tomb, the work of Alfred
Gilbert, dominates the small Albert Memorial Chapel in Wind-
- jr Castle.
At first sight the monument appears to be an immensely ela-
, orate coffer supporting the effigy and its attendant angels
I No. 1). On closer examination it is seen that these are in fact
1 >ornc on a sarcophagus made up ot a series of heavy horizontal
J nouldings the outline of which is just visible between the tor-
I uosities of the surrounding grille. The base and sarcophagus are
narble and onyx, the rest ot the work of a variety ot metals and
he effect is ot a subdued but sumptuous polychromy. When this
monument was commissioned, immediately after the funeral of
he Duke, Gilbert had been tor nearly ten years the most admired
mil discussed sculptor in England. He hail returned to London
'trom Italy at the end ot 1SS4 and during the following years his
ij output was almost superhuman, constantly varied and new , but
■pis relationship with the committees which administered his
larger commissions was often unhappy. He came to share the
vague eclectic romanticism and yearning tor a mythical past, tin-
rejection ot historical anil archaeological accuracy of E. Burne-
Jones and G. F. Watts in painting. Gilbert carried this spirit into
sculpture tor the first time, for that art in England had remained
until very recently vestigially neo-classic. The new attitude im-
plied the right to draw on all and any sources which gave a
' desired effect, and its logical development was first Art Nouveau
and later the debt ot the early twentieth century to exotic and
1 then primitive prototypes.
Gilbert was awed and delighted when he received the Royal
commands. He found the household at Sandringham, where he
• was summoned for the weekend of [anuary 23, 1892, impressive
yet affable. He felt that at last he had the commission and the
patron of which he had always dreamed. This was to be his
greatest work. He was already in debt or about to become so,
over the casting ot the Shaftesbury Memorial in Piccadilly
Circus, but if he considered the matter at all, he must have be-
lieved that if he was giving ot his best tor a splendid memorial to
posterity, the Prince ot Wales would never grudge the material
means. Both parties to the bargain were on their best behaviour
and neither had any real understanding of the other. Gilbert was
cautious enough to write to his mother, after describing his
exultation, 'Do not show this letter about. Fools and the irrcver-
end would laugh at you and me, and as usual put a wrong con-
struction on my enthusiasm'.1
Gilbert seldom gave consent or assistance to any publication
about himself, but he did so in T903, to a friend, Joseph Hatton,2
and later to Isobel McAllister ' who wrote his biography. Even so
LAVINIA HANDLEY-READ
the later account quotes extensively from the earlier one. Both
are coloured by their subject's tendency to dramatise and see
himself in legendary terms. Hatton implies that the whole monu-
ment, 'as it now stands' was designed within three days. Miss
McAllister, although she was in daily touch with Gilbert while
she was writing her book, adds local colour to this. Three days of
total clausula, with meals left on trays outside the locked studio
sor Castle. Crown Copyright Reserved.
85
2. Plaster model shown to Queen Victoria in March 1892. Victoria and
Albert Museum, Crown Copyright.
door, after which 'an exquisite model was ready comprising a
large number of figures full of symbolism, history and extra-
ordinary imagination which the Prince of Wales considered
nothing short of a miracle'.1 If Gilbert did not tell her this, he
must at least have allowed her to write it, while evidence to the
contrary was before them both in the form of the early progress
photographs. "I here was no grille 111 the first proposal. The sur-
round, which gives the tomb its coffer-like appearance, grew up
gradually over the next six years. Gilbert only gave the structure
its Burgundian character after experimenting with more recent
styles. He had never seen the Prince, and the effigy appears to be
based on a watercolour portrait done after death. ' On March (>
Queen Victoria wrote in her Journal, 'Bertie brought Mr.
Gilbert with a beautiful little model for the intended recumbent
statue of dear Eddy for the Albert Chapel'. 11
Two years earlier Sir Edgar Boehm, 'sculptor in ordinary to
the Queen', had died in the arms, more or less, of the horrified
Princess Louise. I le had attempted to lift a heavy work of
sculpture so that she should see it better, when he fell to the
ground in a heart attack. After unsuccessful efforts at first aid, she-
ran and fetched Mr. Gilbert from his studio next door and he-
took charge. Queen Victoria described it all 111 her Journal:
'( iood talented Sir Edgar Boehm had died', she concluded. I fad
he not done so, it is tar from certain whether Gilbert would have
been entrusted with the Clarence memorial, although Princess
Louise, a sculptor in her own right, and her informed elder sister
the Empress Frederick would both have recognised, with the
rest of the art world, that Gilbert had long since outpaced his old
maste r and friend, who had taught him before he went to Paris 111
1X75. In any case, the Empress Frederick wrote- her approval
from Berlin: 'It is indeed the best decision that could have been
come to.'7
On Marc h 10, 1893, Queen Vic toria drove with her daughter
Beatrice and her son-in-law, Prince I lenry of Battcnbcrg, to
Gilbert's studio '. . . at Maieki Vale to see the monument for dear
Eddy's tomb, only in the clay, which is beautiful and so like. I he
angel bending over his figure holding a crown is e|iiite lovely,
and so is the little angel of love, against which his feet rest. I he
angel weeps over an unfinished wreath of orange blossoms. Mr.
3. Progress photograph of efFigy, sarcophagus and projected surrou
March 1893.
Gilbert showed me too a small wooden model of the grilla
which is to go round the tomb, on which different figures*:
saints are introduced'.
The little model of the previous year, then, had no grille, and;
almost certainly the one found in Gilbert's studio after his des
and now in the Victoria and Albert Museum (No. 2). With
bronzed finish picked out in gold and colour it had been pf
pared for demonstration to a patron rather than for the guidan
of the artist. A Baroque treatment is suggested bv the vigorc
sweep of the angel, kneeling at a right angle to the effigy afl
bending to hold the crown over the head as though arrested:
movement, and by the scrolled and moulded ends to the sarc
phagus which resemble the rich forms of the lower part of t
Piccadilly fountain, completed at about this time. A surround
any height would have concealed the modelling of the sarc
phagus and the armorial bearings later transferred to the gril
as well as the smaller angel on a bracket below the other figur
and later raised to a position at the foot of the effigy. This 'angl
was later said by Gilbert to represent Antcros, his conception f
pure earthly love, in reference' to the Duke's intended marriage'
In No. 3, which appears to correspond with the Queen's deseri]
tion of March, 1 893, the crowning angel is no longer buoyai
but bowed like its companion 111 mourning. The potentialities!
the Garter rob.es are ignored, the sarcophagus is reduced to
series of mouldings. All is severity and grie f.
As we have seen, Gilbert's memory of the order of events
unce rtain. I le told Joseph 1 latton in 1903 that he had visited tr1
chapel as soon as possible, and been influenced by its being
basically Gothic building, but so altered and remodelled th<
only its stained glass windows retained the original character. Tk
chapel had had many names and served main' purposes.'' It w
built by Henry III, refitted as the darter Chapel by Edward 1
and superseded in that function by the choir of St. George
Chapel. Henry VII made it a Lady Chapel, and aftcrwar>
Cardinal Wolscv, at tin- height of Ins power, was granted tl
right to make his own great tomb there. This work was f.
advanced at the time of Wolscy's fall, and I lenry VIII w as said t
have considered appropriating it for himself. But the Florcntil
sculptor in charge, Benedetto Rovczzano, returned to Ital
S6
aving it unfinished. The monument was broken up and sold
lder the Commonwealth. The chapel was again repaired and
•corated by Verrio in the time of Charles II and again fell into
;<dcct until it was restored by Queen Victoria after the death of
;r husband and named after him. Some of this long history
■mnd its way into the iconography of the Clarence Memorial,
ilbert acknowledged to Hatton a considerable debt to the
lenry VII tomb in Westminster Abbey where he detected a
lingling 'entirely in harmony' of the Italian renaissance effigies
f Torrigiano with the surrounding screen of English Gothic
onwork. As to the Wolsey tomb, he was hazy, not even noticing
lat it had been by a different artist but gratified to find after the
Spent that he had 'hit on the same treatment'. The passage in
/hich Gilbert discussed this and his resolve to treat his work as a
icred receptacle protected by an openwork screen, 'as seen in
kcient works, especially Gothic', is more a justification by
nalogy with famous precedent than a revelation of stylistic
jurce.10 The Wolsey tomb was a complicated group of ele-
lents including statuettes of angels and saints, but it had no
.irround. The screen at Westminster forms a surround to the
/hole chantrey chapel and not to the tomb itself and in appear-
nce is quite unlike the Clarence Memorial m spite of the icono-
raphical connections. A much closer visual prototype exists
vhich is not mentioned except by implication. Hatton quotes
Gilbert as saying: 'I decided to treat my offering as a shrine, as a
iothic sculptor would have done; in the conception ol the
iierced-work grille I had in mind the traditional Tree of |esse —
kind of heraldic allusion to the ancestry and the patron saints of
he Prince and his House.'
Although the grille panels underwent main' changes as the
jivork progressed, at no time did anything suggest a free of |csse.
torn the beginning each panel was composed of two stylised
I vinged figures supporting a third, more realistically treated and
afferent in each instance, accompanied by heraldic emblems. The
[ xplanation probably appears in the tomb of Mary, Duchess of
Jurgundy in Bruges (No. 4). Here the Tree does indeed spread m
L;ilded metal work over the dark marble of the sarcophagus itself,
pie arms of the ancestors of the House of Burgundy are its fruits
nd are given added support by pairs of hovering angels,
jilbert, who must frequently have passed through Bruges on his
[pay to Brussels where much of bis casting was done, appears to
[lave adopted the angel supporters, together with the general
ippearance of the Bruges sarcophagus, arrived at by raising the
evel of the grille so that only the effigy and attendant angels re-
named visible above it (No. s). In this form the model was
•hown at the Royal Academy in 1 S94.
A drawing of October, 1893, shows that while Gilbert was
xcupied with the problem of the surround and its character, he
lad an idea for a far more elaborate grille and canopy, which had
tbcen carried out would indeed have been a splendid example of
lis Northern Renaissance /Art-nouvcau style (No. 6). The design
bf the lower half is essentially that of the Clarence Tomb, the
symmetrical repeating panels ending well below the level of the
I rffigy, but the uprights between them extend to support a
Suggested canopy of utmost splendour, heavily scrolled and
[decorated. But for one mysterious detail this drawing would
appear to be a grand variant on the theme of the tomb under
I discussion. On the mount below the drawing is a sketch which
lieems to indicate two effigies side by side. Was there ever a
suggestion of an even greater commission than the one Gilbert
Jready had in hand? Queen Victoria had built the mausoleum at
, rrogmore for her husband and herself. The canopy tomb would
lave been modest by comparison for her son and daughtcr-in-
aw. Certainly Gilbert himself would not have hesitated to take
4. The tomb of Mary of Burgundy, St. John's Church, Bruges. Copyright
A.C.L. Bruxelks.
on more. He was already in difficulties and wilfully overspending
time and strength. Calculations about money he considered
ignoble. Friends made attempts to advise and help him but he
would allow nothing to interfere with the practice of his art at its
most demanding. Sir Dighton Probyn, who now was inter-
mediary between Gilbert and the Prince of Wales, wrote to him
by coincidence on October 29, [893, the date of the thawing,
about some unfinished work, and ended; 'for heaven s sake give
up these 22 hour stretches of work, you will kill yourself. Let the
people grumble if they like — tell them to go elsewhere — (to the
Devil) your life is worth more than their money . . .'" Although
5. General view of the plaster model shown at the Royal Academy, 1894.
87
k %
o \ ilu'ii li I im dii' i .11 u> | Mt'tl tomb him i ilu'il 111 liilbort's wrilitip, 'All open
« ink kMirl»sill)t ( III' \.ll » «> | »l t .« i- 11 1 . 1 VI 'out'. ( I'Mi . Hi'fl liilri'N I'ifM * 'il/»>l-M.
7. Origimil trtuitispiocv lor .i ik'xcril'tivv ittbiitu on (lu- Vl.iroiu i' l'i>iul> .mil
its Ueriililr> w iittTi'olotii mill roUI lent. ( '.•//., n.'n Uiinxi imm ( \i/«><*n.
Si
HI * r .
3 ^ \ N N \ *\ ^.
In it li kindly and honourable, the man who wrote tliis advice v;,
aftei many years, to abandon Gilbert to Ins Luc, Im.illv c> -
vinced tli.it ho could do nothing else.
llu' i Sy | model was considered to be the most import t
sculptural exhibit ol the year at the Academy, even it it was si
not to he a work ol tine sculpture. It was not so intend
Gilbert regarded himsell .is an Artist. The Clarence To ip
should rather he compared to W'agnci i.in opera, prodigii \
w ork lor a royal patron admitting no conventions or restrictii s
whiih would detract from its splendour. Wagner had s
romantic monarch .is Gilbert had Ins prince. 1 he two artists 1 1
in common then established symbolism and their attitude i
money .is the servant ol their ow n at t and the object ol cupid .
in othei people, and ,i love-hate relationship w ith gold in its
Maeterlinck and the Symbolistvs ot the I hud Republic w -
obliged to create then royal and aristocratic characters, Gilbe s
prince was real, hut romantically dead. The princess his motllr
w as beautiful, gracious and bowed, like the angels of the ton,
with hei grief, I lei husband was entirely sane ; hut humdrum ad
pi a< lu al as Oueen Victoria ami her eldest son are shown by tbr
biographies to have been, a considerable ceremony and glit :
was still preserved about the heads ol what seemed to the rj
cvnical to be the greatest Empire ever known. To commcmor :
die hen to all this Ciilbert gave his utmost ol grandeur and en -
lion ; the dramatic realism ol the clhgv, the clocjucnt mourning t
the angels, the i u hness ol i olour, the contrast ol dark bronze ad
pale aluminium and w hue marble. 1 he pol\ i hronie ol the gr :
owed much to the studs ol |apancsc metalwork, the forms :
w hu h it w as made up w ere C iilbert S ow n distillation from maw
soun es. i. \iudlc soi keis w ere to be provided above the niches,
flickering light would have extended still further the effect!
movement and i oalescetice,
Ol the model, which from contemporary evidence appears*
have been about halt final si/e and ol coloured plaster. Clank
Phillips wiote: ' I he tomb is. notwithstanding its brilliance a
in vent i \ eness ot design, the w oi k ot the decorator and goldsm ■
rathei than ol the true sculptor. '3 Much ot the other criticism
similar. Historical examples are invoked, among them the in
guudian tombs, and the failure ot the new monument to cot
form to am particular prototype is in effect condemned. TJ
critics could not see Gilbert's style as a legitimate integration':
dual development of the revivals and historicism ot the n'u:
teenth centurv in the hands ol an 'honest innovator (as Gilbi
saw himself) who transcended established styles while tree
drawing upon them. Phillips remarked on the 'only halt col
vcntionaliscd natural tonus peculiarly characteristic ot Gilbcrj
art'. \nd I V S. Met. 'oil wrote: 'The idea ot a wing has tak
possession of a designers head, and the winged figures, instead sf
being restricted b\ the bars ot the grille on which they aJ
sculpted, have overset the balance and made it curv e with thi«i
feathers. The figures accordingh became constructive, always .
unpleasant thing.'13 Such observations as these abound, and a\
lust, except that thev are made in reproach, when in tact they aj
almost definitions ot an earh appearance ot three-dimensiolM
\u Nouveau. lor want of a term. Gilbert described the mann
ot the work as 'Gothic, and vet devoid ot the slightest imitark
what I took Gothic to be to those who practised it. the be1,
expression of a living artist", (.iilbert s was the organic idea o
Gothic, a manipulation and multiplication ot tonus out ot or
another w hich was not pertectable as a classical style must be, bi1
open to infinite elaboration, sympathetic and dangerous to
temperament like Gilbert's, because there was no recognisab
moment of completion. It appears, how ever, that be w as satii
tied at the time and intended to complete the 1S04 plan withot
SS
alteration, since a sumptuous volume on the tomb and its
heraldry was undertaken but became obsolete before it was
finished. No. 7 shows the title page, the border of which is based
on the 1894 grille design, and includes St. George and the Virgin,
die first two of the statuettes to be completed, about 1 896.
Up to this time things seem to have been going according to
plan. The agreed time for the completion of the Clarence Tomb
was June, 1898. For this again we have evidence 111 an entry 111
Queen Victoria's journal at Christmas, 1896, after Gilbert had
dined at Osborne. His presence there may well have been con-
tributary to the final disaster, for the son-in-law who had earlier
accompanied the Queen on her visit to Gilbert's studio had died
in the previous January and for him also a monument was re-
quired. At Nice, on March 17, the Queen wrote in her Journal,
'looked at a model sent by Gilbert for the grillage I mean to put
up in the little chapel at Whippingham. Beatrice was much
pleased with it'. By Christmas the elaborate screen was ready, but
nearly a year had gone by of the allotted time for Windsor.
Casting for the tomb should now have begun, but Gilbert
was no longer satisfied with the design and begin to re-work it.
The general plan remained the same, but every single detail, line
and form was altered. The essentials of the grille composition, the
winged figures, the saints in their niches and the coats-of-arms
were tried out in ever-varying relationship to cine another and to
the surrounds. Uprights consisting of architectural forms run wild
even by Flamboyant Gothic or Rococo standards, connected to
scrolls and brackets (No. 8) show the additive process at work.
The change in the position of the angels' heads has led to the
raising of the niche above, and so to an increase in the height of the
whole panel. Each of the three uprights in this illustration was
changed again in the final version, as they had been before and
continued to be after casting began. Left to himself Gilbert
would presumably have continued to scrap and replace bronze
and aluminium with the same abandon as if they were plaster.
At some point even he was forced to a halt, and the grille remains
incomplete to this day. Slots are there into which further addi-
tions were to have been fitted, and the bronze scrolls intended to
join the lower parts of the panels to the side supports terminate 111
mid-air (No. 9).
In a letter of March 7 1S9S, in which he wrote to Sir Dighton
Probyn, 'On Wednesday I commence the erection of the
Tomb',14 Gilbert asked for support in his application for the
post of Director of Art and Principal of the Schools at South
Kensington. In a second, explanatory letter the following day he
'wrote:'"' '. . . my decision has had far more reflection than 1
ordinarily give to any matter upon which 1 embark ... in
revision of my life I find that half of it has been spent in needless
struggle and superabundant turmoil and to keep these two ele-
ments going I have had to expend much more valuable time than
I should have done ... I have never known that comparative
peace which a definite stipend brings to a man w ho is content to
ook for nothing more.' Then, characteristically returning to the
grand manner: 'If I have, as you so kindly say, attained a good
olacc — even "top" — in my profession, is it not all the more
reason that I should aspire to the power of helping those who are
lot there, to pass me and do even more than I can ever hope now
:o do. It should not be stranger that an Artist should work for his
Country than that a soldier should do his duty for it. I have made
1 firm resolve that henceforth, since huge artistic enterprises are
oeyond the power of individuals to foster, and as the State is
powerless, I will devote myself to the creation of smaller and
Ittiore individual productions ... I shall be grateful for any help
*ou can give me.'
The reference to 'huge artistic enterprises' may have raised a
8. Progress photograph of a sketch panel, about 1896.
meaningful sigh from Sir 1 )ighton, but he and his Master were on
Gilbert's side. The Prince of Wales wrote from Cannes on April 0
to Ins sister the Empress Frederick: 'There is some idea of
appointing Alfred Gilbert curator, and I only hope it may be
done, as he is a man of such extraordinary genius. In fact you w ill
agree with me that there are few to compete with him in matters
of artistic execution.'"1 On May 1 1 the Prince wrote to his sister
again, from England: 'The monument to dear Eddy is now
placed in the Memorial Chapel. It is certainly a very fine work of
Art and worthy of the eminent sculptor Alfred Gilbert. Un-
fortunately it dwarfs the other tine monuments and is large for
the chapel. The other drawback is its great height, but I feel sure
you will admire it.'17
In August a contributor wrote in The Artist: 'It is probable
that Mr. Alfred Gilbert is to succeed to the post of Art Director
of the South Kensington Museum ... if this is true, the Science
and Art departments will gain the one official w ho is likely to
exercise a really beneficial influence upon the work of the
museum.' It proved to be untrue. Gilbert's 'business ability .as
questioned b\ the Lord President of the Council, who was
89
Iready under hrc from a Royal Commission of Enquiry into the
flairs of South Kensington. Gilbert indignantly wrote that there
[teas a large clerical start1 tor that side of things. 'Failure in any-
thing I have set my mind upon is worse than death', he wrote to
friend.18
j Meanwhile an informative and laudatory article appeared in
rhc Times of August 4: 'The noblest work of monumental art
hat has been created in England since Alfred Stevens made the
Wellington Memorial ... As one stands before this beautiful
omb, so splendid in conception, so rich and yet restrained 111
xccution, one feels how fortunate it was for the Royal Parents
nd for the country that a man of genius was at hand able to
arry out their wish in such a way as this.' The article goes on to
iraise Gilbert's power of integrating a variety of styles and
materials into a successful whole. 'It would certainly be a lament-
ble thing if, in a country like this where wealth is so abundant and
rtistic genius is so rare, one of the leading men of genius of our
imc, and one of the two greatest English decorative sculptors of
he century, should have to cease from producing great and im-
ortant works because they are found in practice to be too
ostly.' It was also remarked that 'Mr. Gilbert who like so many
enuine artists sometimes allows his enthusiasm to outrun his
rudence has found the work far more costly than either he or his
oyal patrons intended and he doubts whether he can ever
ndcrtake anything of the kind again'.
Although the main part of the structure was now 111 position,
ie saints' niches were still empty, but soon to be filled, according
3 The Times. There could be no official opening or unveiling
ntil this was done; and so there was little comment in the press
) show whether, since 1 894, there had been an increased accept-
iice of what was then a progressive style; but even if by the sum-
rer of 1898 the whole art press had rung with admiration of the
lirence Memorial, it would not have helped Gilbert. He
eeded no fresh commissions, having too much on hand already,
lis reputation was still as high as ever. The Royal Academy's
'rofessorship of Sculpture was revived for him. He was asked to
:rve on the committee tor the I '.iris Hxhibition of 1900, but
bfused, saying that he had neither time nor money, and w as a
)reyfusard.la A period of humiliation and disaster was ahead of
im whose story, closely bound up with that of the absent saints
f the Clarence grille, remains to be told. On September I",,
901, Humphrey Ward wrote to Frederick Fry, both of them
aving attempted to help Gilbert, 'Gilbert's affairs are now in
lankruptcy . . . he purposes all sorts of good intentions . . . but
e is not like anyone else and one cannot make exact calculations
bout him'.20
hi exhibition, sponsored by the I 'ictorian Society, of small scale Late
'ictorian mid Edwardian Sculpture is being held this month at the Fine
Irt Society galleries, 1 48 New Bond Street , London II". 1. The Fine
lrf Society held the first exhibition <>/ this hind in 1Q02 and were
tilbert's own agents. Several of the statuettes on shoir were discussed
ithe previous article and others will be dealt with next mouth.
NOTES
1 Gilbert to his mother. From Sandringham, 11.45 p.m. January 25th, 189: V. Il: 1 •
Royal Archives. Add X./200. All quotations from sources in the Royal Archivi
.it Windsor arc made by gracious permission of I ler Majesty the Queen.
- |oscph Hatton. Alfred Gilbert. Special Easter number of the Art [ournal, 1903.
:l [. McAllister. Alfred Gilbert, 1929.
I Ibid. pp. i2v-i 30.
6 In the Royal Library at Windsor, signed William Simpson, dated i s. I v2.
II Queen Victoria's unpublished Journal in the Windsor Royal Archives.
7 The Empress Frederick to Queen Victoria. Berlin February 3rd, 1X92. Windsor
Royal Archives, Z 52 17.
s Joseph Hatton. as above, p. 28.
u W. H. St. John Hope. II 'indsor ('astle. An Architectural History, [913.
10 Alfred Huggins, F.S. A. '( )n the work of Florentine Sculptors 111 England 111 the
early part of the [6th century with special reference to the tombs of C ardinal
Wolsey and King Henry VIII.' Archaeological Journal , Vol. LI. September 1X04.
11 Sir Dighton Probyn to Gilbert October 29th, [893, Windsor Royal Archives,
Z47S '249.
'- Claude Phillips. Magazine qj Art, [unc 9th, 1894.
13 I). S. McColl. The Spectator, June 9th, [894.
14 Gilbert to Sir Dighton Probyn, March 7th, 1898. Windsor Royal Archives.
7.T.10 So.
15 Letter from Gilbert to Sir Dighton Probyn,
Archives, S.T. 10 80.
"' Prince of Wales to the Empress Frederick,
Archives. Add. A 4 54.
IT Prince of Wales to the Empress Frederick,
Archives. Add. A 4 58.
18 Gilbert to Frederick Fry, August I lth, (898. Royal Academy of Arts.
19 Gilbert to M. H. Spiclmann, October 25th, 1899. Royal Academy.
20 Humphrey Ward to Frederick Fry, September 13th, [901. Royal Academy.
Ma
Ri
h 8th, [898. Winds
April 9th, 1N0.S. Windsor Royal
May nth, [898. Windsor Royal
Completed panel. Crown Copyright Reserved.
). Head of the effigy of the Duke of Clarence with the 'Crown of Eternal
ife, the twelve-gated city' held over it by the angel. Crown Copyright
(served.
91
Solomon Caesar Malan
artist, scholar, theologian
PHILIP TRAUB
ON fuly r, 1896, at the opening of the Indian Institute at
Oxford, Sir M. Monicr- Williams, then Boden Professor of
Sanskrit, declared '. . . the Oriental Library of the Institute
would soon be second to none in Europe . . .' and that 'its
greatest benefactor was the late learned Dr. Malan . . . Even the
Bodleian over the way, with its plethora of wealth, had not some
of the treasures to be found on the shelves of the Malan Library.
. . . Dr. Malan was, without doubt, by far the most accomplished
Oriental linguist in England . . . he was a master of Oriental
calligraphy ami his Chinese hand would be hard to excel.'
Solomon Caesar Malan was no ordinary figure, even in a cen-
tury of so many great individualists as the nineteenth. He did not
in his boyhood receive formal schooling. That in the course
time he became a Master of Arts of Balliol and a Doctor
Divinity of Edinburgh is not surprising when viewed in the lis.
of his family background.
The only chronological record of his travels in the Orient is 1
be found 111 his watercolour and reed pen drawings; of whi
1,614 m number, bound in volumes, have survived. It is as well 1
be reminded that with Delacroix, Decamps and Fromentin t :
French had no monopoly of the Middle East. Edward Lear, tin,l
in appearance but restless in his travels, had penetrated as tar
Petra, and [. F. Lewis, perhaps less adventurous, had discover i
enough attractions to keep him in Cairo for years.
1. Magdalen Tower, Oxford 0. iK.tM- Pencil, sepia wash 011 white paper. 7 10 inches. Malan very rarely used 'Chinese while' lor his highlights, lie nc
painted in oils. Before Oxford, he was well advanced in the knowledge of Hebrew, Sanskrit and Arabic and was fluent in several modern langlM)
Not so in English. lor his philosophical essays his English remained inadequate and his startling request to write his examinations in either Freij
German, Spanish, Italian, l atin or (ireek was not granted. To this refusal Malan attributed his failure to get a f irst— a great blow to his sclf-cstcei
92
Malan's travels held one purpose only — his pursuit of philology
nd theology. He sought out the savants in their libraries and
wnasteries and no less than 58 publications are to his credit.
Jone was specifically about his travels. His innumerable trans-
itions from Oriental works were derived from ancient manu-
.ripts. A feature of his indomitable egocentricity is shown in his
isregard for the work of his contemporary scholars.
He was born in 1812 in Geneva, the eldest of twelve children,
lis father, a gifted and determined man, was a pastor of Huguc-
: ot descent who, after a spiritual experience, sought to revive the
ustcrity of Calvin's teaching which had retreated before the
philosophy of the French Revolution.
Solomon Caesar's early father worship with patristic over-
ones curbed the rebellious creativity of his youth and repressed
is highly developed aesthetic sense with an equally forceful
iterary one — the literature of oriental languages. Inevitably at the
ge of 18 this ambivalence created a complete break with his
diiiily.
He had recently met the 16-year-old Mary Mortlock on a
isit to Geneva with her father, a well-to-do London business-
nan. The objection to their engagement which Mr. John Mort-
ock had at first raised was withdrawn and replaced with an offer
0 send Malan to Oxford.
In April, 1834, after winning the Boden Sanskrit Scholarship,
he young couple were married. They went to live at 19 Merton
itreet.
The Oxford of the eightcen-thirties was profoundly stirred by
he views of Hurrell Froude and John Keble, Fellow of Oriel.
Tracts for the Times' had made its appearance, and John Henry
Newman's escalation to the Church of Rome reached a climax 111
Tract No. 90.
The famous Tract No. 90 contained a drawing by Malan of
Newman and of Dr. Pusey, Professor of Hebrew. But neither
dialectical splitting of dogmatical hairs' nor self-renunciation
ormed part of Malan's intellectual outlook. There had been
•nougli restrictions at home in Geneva and his interest in the
Tractarian Movement was transient and tangential. The Pusey
iiid Ellerton Hebrew Scholarship crowned his academic career.
After Oxford he accepted the Classical Professorship at
3ishop's College, Calcutta. In August, 1837, with a frail wife ami
wo little babies, he sailed for India. He was in his twenty-fifth
/ear. This was the first ot his many travels to the Far East, to
Central Asia, to the Holy Land, to Armenia and Nineveh, and to
Italy and Greece.
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2. Chinese characters used in Japanese calligraphy. Double-page illustration
of a small leather-bound booklet — 'Pearls from the Eastern Sea' — in
Malan's hand, written in vermilion and indian ink. Each page, 4, 3.I
inches. It contains examples of Coptic, Sanskrit, Russian, modern Greek,
Tibetan, Arabic, Persian and Burmese calligraphy and is in the collection
of his great grandson, Mr. Edward Malan. Solomon Caesar Malan's gift of
ancient oriental manuscripts to the Bodleian includes another volume in
his own hand containing 80 specimens of dialects, bound in Morocco and
stamped with a pattern which he copied from the Alhambra. Silver clasps
with Tartar inscriptions secure the 600 pages; it is known in the Bodleian
catalogue as MS. Or. Polygl. f.I. and is lettered SACRA PRIVATA. Rev.
S. C. Malan MDCCCLIII. In 1893, in his eighty-second year, he published
the last of his three volumes 'Notes on the Proverbs', a work which he had
begun in his undergraduate days at Oxford in 1830. In the course of half a
century he had extracted quotations from non-Christian manuscripts to
show that the Book of Proverbs contained abundant parallels in Eastern
literature. The 'Notes' were taken from untranslated original texts which
Malan had copied in its native character for the sake of greater accuracy.
Every passage is given a numbered footnote, but the esoteric abbreviations
render the source unrecognisable to the most able scholars. In 1894 Dr.
Malan was asked to give a brief philological key. But blindness, depression
and a rapid deterioration of his intellect placed the task beyond his power.
'I have no pleasure in them' he said, and often repeated King Solomon's
'Vanity of vanities, all is vanity'. He died in November, 1894.
3. Isle of Trinidad (February 14th, lSjS). Drawn on the voyage to India,
pencil and wash, 6 8 inches. In the use of the foreground rigging in his
design, Malan revealed a gift for composition far in advance of his time. In
his 'Aphorisms on Drawing' (Longmans, 1856) Malan claims to base his
observations on self-taught experience. It is known, however, that his
lather, a gifted scholar and theologian, undertook the education of his
twelve children. Drawing lessons were also given by Alexander Calame
the notable Swiss painter, then living in penury in Geneva. (See 'Art of the
Romantic Era' by Marcel Brion, p. 196, Thames & Hudson, 1966.) 'Land-
scape with Two Figures.,' by Calame, 1833, is a watercolour now ii the
British Museum. A volume of Malan's early drawings contains a copy
93
4. Capetown (May, 1839). Pencil, reed pen and watercolours, 7' 10'
inches. The slopes of Table Mountain and Lions Head form a background
to the accurately pencilled architectural details of the Town. The squat
steepled church to the right and several public buildings have been pre-
served to this day. Malan's feeling for composition incorporated the
massive oak-beamed hoists of indigenous wood, planted by the Dutch
settlers in 1652. The wine barrels on the right bear testimony to the expert
knowledge of viniculture which Jacques Malan and the party of French
Huguenot immigrants brought to arable Cape farmlands in 16KS. In the
foreground a Cape Malay is seen wearing a toudang, a pointed form of
head-dress now, regrettably, unknown at the Cape. Made of cane and
straw, it was donned over a bright turban-tied head cloth. The Cape
Malays arc of Indonesian stock and were carried in slavery to the Cape in
the late seventeenth century by the Dutch East India Company.
5, Table Mountain (l8jg). Watercolour, y' 23' inches. A faint pencil out-
line of Table Mountain suggests that its peaks and fretted crags may have
been washed in indoors — after the manner of Edward Lear. There is, how-
ever, much spontaneous painting in evidence. His son and biographer
wrote in 1X97: 'Mr. Malan always sketched with a rapidity calculated to
astonish the spectator. If the medium was pencil, he would take one look
at the subject, touch in half a dozen light dots on the paper, and send the
pencil with lightning speed to complete the sketch in the same style. With
watercolours, three sets of colour sufficed him — main tints washed in and
blended; scheme of shadows executed throughout; details few and sharp.'
From the vicarage of Broadwindsor, in 1 )orsct, where ]
worked as a conscientious parish priest for the last 40 years of h
lite, he set out on his travels, 'slipping the chain with quickent
impulse like one of his Newfoundland dogs let loose on the run
In [850 a journey through Central Asia brought him to tl
banks of the mighty Tigris. Me continued downstream on
native raft or 'kclck' until, on the fourth day, he reached Most'
Here he met Austen Henry Layard engaged in excavating til
ruins of Nineveh. Layard s second book 'Nineveh and Babylon
published 111 [853 (John Murray) is illustrated with several ['
Malan's drawings, and the originals are in the British Museum.1!
He is said to have painted nothing at all during his labours a;]
parish priest. True, he gave lessons 111 drawing to the fan
labourers' children long before John Ruskin, his fame alreat
established, gave art instruction to members of the Workii
Men's Club 111 Bloomsburj .
In 1855 the Patriotic Fund was organised — its proceeds wc]
needed to provide the deficiencies which Florence Nighting;
had exposed at Scutari. Malan was asked to submit scveil
watercolours to a fund-raising exhibition at the Royal Academ
I lis pictures sold very well. Mr. John Murray, the publish*
bought several. 'Mr. Murray also paid him 300 guineas for "t
liberty to make use of a number of original sketches tor Bibliu
illustration" ', records his biographer.
Perhaps the most unique ones 111 the collection of the Mai
watercolours are a set of No which he did at the Cape of Go|
Hope in [839 and which are contained 111 his first bound volun
These are now 111 the possession of 1 )r. A. Malan w ho is a descen •
ant of the South African branch of the family.
In [680 the Malans, an ancient and honourable Huguer I
family, were well established in Mcrindol 111 the South
France. They held land and were called Seigneurs. The Merinc .
archives record the services of four brothers Malan — Jed
|acques, Henri and Barthelmi. The respite which the Protests:
King Henry of Navarre had allowed them under the Edict
Nantes ceased in 1 685 when the King's assassination led to t'
Edict's revocation.
Jacques Malan Heel to Holland, thence to the Cape of Go I
Hope where he arrived in 1688, with other Huguenot refuge,
at the invitation of the Dutch East India Company. His descer
ants include a prime minister, senators and distinguished schol
91
I. Fish and Crab from Lake Tiberias (June 14th, 1842), with a title in Arabic,
'encil and watcrcolour, 6 S inches. Malan exhibited an inexhaustible
:nowledge of natural history. One of his publications in 1848 offered a
lassificat ion of British Birds which, by the end of the century, was con—
idered obsolete. Charles Darwin's 'The Origin of Species', which appeared
n 1859, was however, completely rejected by Malan, who held an un-
bailable faith in the scriptural teaching that the cosmogony of Genesis
vas effected in six days. And how unpalatable to him was Darwin's
volutionary concept can be seen when Malan wrote: 'Man was originally
'fish that swam ashore, where its fin and tail gradually altered into hands
nd feet; while others find in monkeys and gorillas some types of them-
elves! Rightly perhaps, since philosophers of this sort only proved the
vords of the Apostles true, that professing themselves to be wise they
'ecame fools.'
7. El Barralh (1S42). Reed pen, 6 8 inches. Towards the end of his life,
when his eighty years and infirmity added to his depression, Malan was
denied any pleasure from memories of his early life — except his visit to the
Holy Land in 1842. Two bound volumes, containing 415 of his mounted
watcrcolours and sketches from April to June, 1842, bear witness to his re-
markable perception and aesthetic sense.
6. Cotta, Ceylon {February 41I1, 1840). Sepia, y 6 inches. A spontaneous
painting without evidence of preliminary pencil outlines, showing
Malan's remarkable control of his washes. The 'brightest jewel in (he
Imperial Crown' was the source of spoliation for centuries until the Indian
Mutiny of 1857 lead to the replacement of the John Company by the Crown.
The history of the Missionary Societies, however, who founded schools
and colleges amidst the pestilent and poverty stricken millions, has yet to
be written. In 'Letters to a Young Missionary' Malan wrote: 'Do not talk
of conquered nations. You come to dwell in their country on which they
think you an intruder. You come to them with many prejudices of your
own. The Brahmin . . . despises you in his heart and washes himself from
fear of defilement by you. Meet them on their own ground . . . one quota-
tion in Sanskrit will have more weight in your fav our than hours of talk.'
95
io have contributed, in the passage of time, to the history of
uth Africa; and produced a Battle ot Britain pilot of great
.tinction in the late Wing Commander 'Sailor' Malan. Jean
lalan settled in Geneva where his descendant, Solomon
lesar Malan, was born in 1812.
lijWe return to the 25-year-old professor at Bishop's College,
ilcutta, absorbed in his academic work, both secular and
1 ritual. 'I spent Sunday with our friend, Rev. C. Driberg. We
;nt together in the morning to Mograhat, 12 miles distant,
lere I expounded in Bengali to a most attentive and orderly
ngregation', he wrote to the Society for the Propagation of the
»pel.
Tyre (April 14th, 1S42). Reed pen, pencil and watercolours, 6 8 inches
ith annotations in Arabic). Tyre: an ancient Phoenician City which,
ssibly, gave its name to Syria. It was rebuilt on an island rock but was
lin stormed by Alexander. Malan's superimposition of a Biblical
mgh on a sketch of Tyre was doubtless one of necessity. There are
eral examples of improvisation when his stock of sketch books ran low.
& II. Monreate, Sicily (January, 1850). Pencil and watercolour, 6 8
hes. In the early months of 1849 Henry Austen Layard published in
ail the results of his excavations in 'Nineveh and its Remains'. As a
ok on travel cum treasure-hunt, coupled with scholarly archeological
erpretation, it has never been equalled. It took the public by storm. In
y, 1849, Malan was granted long leave of absence from his parish in
•rset. Heading for Central Asia he journeyed through France, Italy,
ily and Greece at a leisurely pace. He made notes for his own publica-
ns on theology which were to follow, and drew innumerable subjects
dch interested him. When time permitted his architectural drawings
re equal to those of David Roberts.
n Greece, a rapid reed pen impression (see below) of a group of figures
;h three small studies on the same page reveal his versatility.
Within a year of their arrival in India his wife became ill aftei
she was delivered of her third babv, and subsequently the youiu
couple decided to return to England via The Cape.
On 9th May, 1839, the 'Duke ot Buccleuch' anchored w ithin
the shadow of Table Mountain, and, tor the first time since the
revocation of the Edict of Nantes in [685, the descendants of
[acques and |ean Malan could, had they wished it, have estab-
lished a personal recognition ot kinship.
Malan's watercolours, which are essentially communications of
fact and not of emotion, do not record such an event.
'Aphorisms on Drawing', dedicated to fames Duthcld Hard-
ing, was the title of one ot his two secular publications which
appeared 111 1856. An examination of Malan's landscapes con-
firms the validity ot his experience, and only in one paragraph is
there a similarity to the views already expressed by Ruskin in
'Modern Painters'.
Malan died in 1894. His biography, written in [897 by a son
of his second marriage — his first wife died on her return from
India — reveals a character possessed ot genius in the well-defined
ability of oriental languages. Cycles of intense creative activity
alternated with episodes of despondency — and of considerable
interest is his variation ot style which reflects not so much an
emotional statement as it does a recording of a tact in yet another
manner.
That many ot his works give the impression ot having been
done by another hand, clearly demonstrates the mam facets of
his considerable talent.
All the drau'ings here reproduced are in the collection of Mr. Edward
Malan except lor Nos. 4 and s which now belong to Prof. A. .\ lalan.
97
The Times-Sotheby Index: 1
IMPRESSIONIST PICTURES
GERALDINE KEEN with the assistance of Charlotte Prest and Ian Bennett.
This article is revised and reproduced from 'The Tunes' by permission
1,000
900
800
700
600
500
400
300
200
100
1
I
,
-
—
*
•
7
IMPRESSIONISTS
U.S. SHARE PRICES
U.K. SHARE PRICES
FOOTNOTE:
1967 FIGURES AT MID-YE
1950-52 100.
1951 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67
Impressionist pictures and the Stock Market
r
Till present passion lor works of art ol .ill
kinds, and the price spiral tli.it it h.is
triggered off, is .i characteristic feature ol .ill
affluent societies. The dynamism ol the art
market today repeats the pattern Followed in the
second lull "I the List century and, with short
hie.iks in the t N';"s .ii ul again during tin- ty i i- 1 <s
War, up to hji<j when both confidence and
affluence were cut short by the depression. With
the steady increase in incomes since the war
incite .mil more people have had mure and nunc
money to spend , .is a result ,i large and dynamic
international art market lias been recreated.
I Evaluation h.is lurther nuclei lined the attrac-
tion cit buying works of art .is an investment.
Even in Hut. iin .i subst.inti.il proportion ol sale
room turnover represents s.iles or purchases
from abroad. In these circumstances British prices
could not rem. mi .it .i discount compared with
the sale rooms ol Paris or New York. I he .in
market is intern.ition.il and thus represents ,i
hedge against local economic, troubles whether
devaluation oi simply rapid inflation.
In .iclcluion works ol .in ol national import-
ance ire exempt from death duties in Britain
until such tune .is they arc sold, .ind even then
there are certain attendant benefits. In America
it can be financially advantageous to donate
pictures or objvts </"<// r to museum and in mo
countries the possession ol works ol art is hen
tni.il in one w .i\ or another. Moreover bcautlfl
.md desirable objects give pleasure to tho
owner and to Ins friends. On the debit sk
they do not produce dividends; on the contrai
they probably have to be insured. It is the tinar
cial implications ol collecting that The Time
Sotlwby index is designed to explore.
I I II MAIN reason lor the art boom of tl
last two dec .ides has bee n the overall increase t
personal fortunes combined with .i vast nierc.i
in the number of collectors. A far w ider range i
9«
eople than ever before has reached an income
racket where picture buying is within their
leans. This indicates that there will be a steadily
(panding market for lesser works of art.
The erosion of large personal fortunes
iroughout the world by inheritances taxes and
:vision upon death may reduce the number ot
rospective buyers capable ot finding the im-
lense capital required tor major works,
iowever, the awareness ot museums, particu-
rly those in America, that the finest pictures
e rapidly disappearing tor ever from the
larket, by bequest to or purchase by a museum
r, in Britain, by becoming the property ot the
rational Trust, is also an important factor. The
idications are that the most significant works
f art will continue to increase in value, perhaps
: a more rapid rate than hitherto. In this con-
exion it must be borne in mind that, after
lowing for the great depreciation ot money
uce the early part of this century, and the
actuations ot fashion (tor instance the relative
ck ot appreciation ot English eighteenth-cen-
iry portraits today compared with the prices
ley fetched in the twenties) and again allowing
>r the canonization of some artists a generation
r two after their deaths — the Impressionists arc-
case in point — prices tor works ot art today are
ot much in excess ot and in some cases lower
mil those obtained immediately before the
irst World War and in the twenties. Taken in
lis context prices today are not remarkably
gh, and by 1977 we may possibly be looking
ick with nostalgia to the prices now being re-
dded in the sale rooms of London and New
ork.
IMPRESSIONIST pictures, and paintings by
"tists whose works are closely allied to the im-
ressiomst movement, are undoubtedly among
le pacemakers of this new market — the pace-
lakers, that is, where volume ot trade at high
rices is concerned. They therefore were chosen
>r the first article of this series. The index covers
x artists of the period selected as representative
oth in popularity and volume of sales: Boudin,
antin-Latour, Monet, Pissarro, Renoir, and
isley.
1 The index tor impressionist paintings stood at
42 in i(/>7 compared with its base of 100 in
950-52. In other words, prices in I9'>7 had
lultiplied, on average, nearly 10 times since the
arly 1950s; they are even higher this year,
his compares very favourably with the move-
lent ot the stock market over the period, where
rices increased around three and a half times,
.n increase in value of this order is not, how-
ver, all that exceptional 111 the art world. It
the volume ot trade and the large sums m-
olved that make the auction record of these
ictures of outstanding interest.
It is virtually only over the last 20 years that
npressionists have joined the Old Masters 111 the
'lillionaircs' market. The highest price so far
aid at auction tor a French painting of the
•tond halt ot the nineteenth century is £$88,000
: Christie's in December 1967 for Monet's
nrasse a Saint Adrcsse, now in the Metro-
olitan Museum of Art, New York; this is in-
dentally the highest auction price so far for any
Pissarro
i p 845" '„ since 1950-51
I. Camille Pissarro. Lever dtt Soleil <i Rouen,
signed and dated '98. Oil on canvas 25' 32
inches. Christie's, 28.6.68, ,£68,250. This picture,
painted after Pissarro's more popular periods
of the farm and snow scenes of the 1870s, and the
pointillist views of the 1880s, fetched a remark-
ably high price, creating an auction record for
this artist.
50 52 54 5b 58 60 62 64 66
I
Fanfin-Latour
1950-52
2. Henri Fantin-Latour. Le Vase de Pivoines,
signed and dated '8i. Oil on canvas 22 1 26/
inches. Sotheby's, 3.7.68,^54,000. This is one of
the most remarkable prices achieved in the sale
room this year. Roses are unquestionably the
most popular of Fantin's flower paintings,
which makes the price for this picture of peon-
ies all the more outstanding. It is twice that of
any previously recorded for this artist, and
sheds a new light on Fantin's place in the Im-
pressionist hierarchy.
99
r SS •
•v.
k, ■*»* |, rt j
' IK
»9
3. Alfred Sisley. L'Inondation, signed and dated
'72. Oil on canvas 18 24 inches approx. Palais
Galliera, 21. 6.61, £60,500. The highest price so
far paid at auction for Sisley. It is one of his
finest pictures and certainly the best sold at
auction since the war.
4. Eugene Boudin. La Plage de Trouville, signed
and dated Trouville '89. Oil on canvas 21! 35
inches. Sotheby's, 26.4.67, £30,000. The most
sought-after subjects by Boudin are small inti-
mate beach scenes, which are extremely rare,
and no fine example has come onto the market
in recent years. This picture, although not of
this type, is of a remarkably high quality, and
one of the best pictures by Boudin to be sold
since the war. Its price is a world auction record.
Sisley
l /> 1,150% since 1950-
50 52 54 56 58 60 62 64 66
Boudin
l /> 835% .sinc e 1950-52
50 52 54 56 58 60 62 64 66
Frcnt h w i >rk ot art. I he highest price lor an Old
M.ister .it auction is £831,000 in 1961 .it Parke-
Bernet lor Rembrandt's Aristotle contemplating
the Bust ('/ Hoihci which is also now in the
Metropolitan Museum. During 1967 at Sothe-
by's .1 Cezanne watercolour was sold tor
£145,000 and .1 snow si. ene ol subdued colour-
ing by Monet for £116,000; nevertheless the
prices paid for the finest w orks of the impres-
sionists arc lower than those given for works ol
comparable importance by painters ol earlier
tunes on the very rare occasions that they are
available. It is the number ol good impressionists
still iii private hands and still appearing .it auc-
tion that makes tor the d\ nan li sm ol this market.
It is perhaps surprising that Renoir, one ol the
most popular artists in our field, has appreciated
relatively slowly, partly no doubt the result ol
the unevenness in the quality ot his work. The
value ol Ins pictures appears to have multiplied
about live times since the early 1950s. One
reason is that his linesi pic Hues have always been
sought alter and lughK pi u ed. I lis jt inn Villi' ,111
( .7i, //ii ,/// 1 ,,11111 de l-'lenrs de (*lnuups w as the
second most expensive picture at the Cognacq
sale ol I'jsJ. at £33,000. Ii\ I<X>6, however,
£107,000 was paid lor a similar portrait, /../
Songeitse, also dating from the 1870s, though
perhaps ol lesser qualm . I his is ol ionise a
massive increase in money terms, £84,000, but
l.iirly modest as a percentage only iso per
cent.
In 1 ontrast the Sislevs and I'issarros which
fetched around £3,ooo-£4,ooo in the Cognacq
sale Would be £30,000 to £40,000 pictures to-
day. This represents .1 900 per cent increase in
price.
Another factor behind the rather modest
appreciation in Renoir's work is the great
number ol small inexpensive pictures passing
through the sale rooms. In the early titties these
were a good bus' tor a tew hundred pounds; now
that their prices have reached the one or two
thousand mark, they represent an expensive
accessory to the decoration ot a room, and are
not large enough to be hung in a place ot
honour. It is thus not surprising that the index
show s Renoir's more expensive and earlier pic-
tures to have increased more 111 value than his
smaller and later ones. One ol his finest works
would almost certainly break sale room records
il offered lor sale today.
1 he largest increases 111 price lor individual
artists are lor Nislcv and Monet ; the level of prices
appears to be some twelve times higher than in
the 1 951 >s. I his compares w ith an eight or nine-
told 1111 lease lor the other artists. Some very
line Monets have appeared 111 the sale rooms 111
recent years and his very late works have lately
had then reputation enhanced by being consid-
ered the forerunners of abstract painting by
some critics. Until the auction at Christie's ol
Monet's /.,/ I errasse a Saint Adresse for £588,000
m [967, the highest price recorded lor this artist
was £ 1 80,000 in Paris in 1905. The formci pic-
ture is among the most famous ol Impressionist
paintings which in pan accounts tor the great
different e 111 price bet ween the two.
The appearance ol a Inst rate example ol an
artist's work in the sale room, and the publicity
attached to the high price it fetches, often tend t
boost the prices ot his other pictures at auctio*
and make his works more readily sold bl
dealers. This has almost certainly been the cas
w ith Monet's w orks.
Sisley and Rissarro are 111 a lower price brackfj
than Renoir or Monet, but there appears to ha\
been a definite increase in their relative pop
ularity. Fine works by these artists fetch arounj
the thirty to forty thousand mark today thoug"
Sislcy's splendid L'Inondation, one ot his tine'
works, made £60,500 in a Paris sale as long ag
as 1961. A more startling price perhaps was th
£68,350 paid at Christie's in June 1968 fc;
Pissarro's l.cvcr tin Solvit a Rouen a paintini
dating from his less fashionable later period. ■
Boudin and Fantin-Latour fetch lower price
again; the upper limit is generally aroun
£35-30,000 in the sale room. Thus although
the value of their pictures has multiplied a bow
nine tunes over 17 years the inc rease in monc
terms is not so spectacular. However, ;
Sotheby's in fuly this year a I antin-1 a tour tlowc
piece was sold for £54,000, a price which ma
mark the beginning ol a greater interest in h
work.
I he post-war boom in Impressionist picture
started at the- Cognacq sale 111 Pans in 1 9 S3. Til
prices paid lor good paintings by Boudii
Cezanne, Renoir, and Sisley were lour or fiv,
times higher than anv previously given at aut
Hon. lor some artists, Pissarro and Boudin fe
example, prices dropped a little from then C log
n. in| levels over the next two years. I lowevei
through the mid-fifties there was considerable
1 ( 10
•ade in Impressionist paintings in Paris and New
'ork with prices pressing steadily upwards.
The progressive removal of currency and
ade restrictions in the mid-fifties was largely
.■sponsible for opening the British market,
ince then, with lower commission rates and no
ix on sales, Britain has managed to corner a
irge share of the trade. The first major sales in
iritain were both at Sotheby's, Weinberg in
957 and Goldschmidt in 1958. The second was
articularly notable and, with the wide pub-
city it received, brought art at auction, now
rat the sound barrier for prices in the sale room
ad been broken, into the limelight. Seven
ictures, three by Manet, two by Cezanne, one
y Van Gogh and one by Renoir, fetched a
ital of £781,000. The highest price was for a
Cezanne, Garfcn au Gilel Rouge at £220,000, the
•west £65,000 tor a Manet self-portrait. Since
lose days, however, auction prices have on
verage doubled or tripled.
These price increases are truly remarkable,
ut the corollary is not that every sensible in-
estor should switch out of the stock exchange
nd into paintings. Apart from the fact that
ictures pay no dividends it is not possible to buy
painting one day and sell it at auction the next,
fa picture is resold too quickly in the sale room
usually drops in price. This is partly a feeling
(ileja vue and partly, if the vendor is alive, that
ealers and collectors either fear there is some-
ling wrong with the picture or that it has al-
eady been offered to their colleagues and rivals,
in Impressionist picture, under normal con-
itions, appears to need around five years to
nature' ; it it is sold earlier it may well not fetch
:s original price. For instance, .1 painting by
/lonct of Zaandam made £40,000 at the
lomerset Maugham sale in iyf>2, but w hen re-
iki in 1965 made only £34,000. There are. of
ourse, exceptions; another Monet La I 'alive de la
trie, Pourville increased in price from £17,000 at
otheby's in 1964 to £38,500 also at Sotheby's
n its second appearance in 1968. The art market
i not for the short-term investor; he should stick
3 stocks and shares. Over say a 10-ycar period,
■n the other hand, it offers a very attractive
ltcrnative.
Talking about the future is always dangerous;
lOwever, there seems no need in the short term
0 fear a reversal of the present upward price
rend. The momentum of the market is main-
lined by its sheer size — the number of paint-
igs that remain in private hands and the large
ratfic in works of art. The present analysis is
>ased on the pictures passing through auction
ooms alone; a greater proportion of the trade is
andled by dealers directly.
It should, however, be borne in mind that the
op of the market is already made relatively odd
nd unpredictable by the disappearance of the
eally good pictures into museums. When the
najor works of an artist have been frozen off the
riarket, the value of his less notable pictures
nay tend to increase more modestly and the
ppearance ot a really major work leads to a
pectacular price totally unrelated to normal
lie room prices.
Note: The major difficulty in comparing price
Monet
I p 1,100% since 1950-52
Renoir
Up 405",, since 195(1-52
50 52 ' 54 56 58 60 62 64 b6
50 52 54 56 58 60 62 64 66
5. Claude Monet. Portrait de Jean Monet, signed
with initials. Oil on canvas 16 12,' inches.
Sotheby's, 3.7.68, £52,000. Portraits by Monet
are rare, and this painting of the artist's five-
year-old eldest son dates from the very be-
ginning of the Impressionist period, about 1871.
6. Pierre-Auguste Renoir. La Pensee, signed,
painted in 1876. Oil on canvas 25 1 21 J inches.
Sotheby's, 15.10.58, £72,000. Renoir objected to
the title of this picture: 'I wanted to portrait a
lovely, charming young woman without giving
rise to the belief that I wanted to depict a state of
mind of my model . . . That girl never thought,
she lived like a bird and nothing more.' Al-
though at the time of the Goldschmidt sale this
was considered an expensive picture at £72,000,
recent Renoir prices indicate that it was a very
good buy.
levels from year to year lies 111 the simple fact
that every painting is unique. In one year a
superb example ot the artist's best period may
be sold; the next year only a couple of mediocre
pictures may reach the sale room. It is clearly not
possible to compare these prices directly and it
has been necessary to find some way round this
problem. The method adopted 111 this study was
to scale the actual price paid for each picture
either up or down to .111 equivalent price for .111
average example of the artist's w ork.
This involved grading every picture that had
been sold; a masterpiece got a very high mark, a
poor picture a low one. This was handled by
Sotheby's expert in impressionist pictures; the
pictures were given the same grade if they were
hkelv to torch roughly the same price at auction
today. The factor relating the price of a picture
in each grade to the average was established on
the basis ot 1967 pric es.
The index tor each artist is based on the move-
ment ot these equivalent 'average' prices from
year to year. The sin indices established in this
way have been combined into an overall index
by taking an arithmetic average ot the indices for
individual artists.
The index is based on pictures sold by Sothe-
by's, Christie's, and Parke-Bernet, and when
possible the I1. ins sale rooms since 1950.
The figures tor the [950s are generally less
reliable than those lor the [960s as the volume ot
trade was much smaller. In order to obtain a
more consistent picture, three year centred mov-
ing averages have been used from [951 to 1961.
The average [950-52 has been taken as the base-
year for the index.
101
Contributed by Adrian Bury
Charles Towne of Liverpool
THE picture of .1 hunter by Charles Towne
(Mr. |ohn Mitchell's Gallery, 8 New Bond
Street, W.i), has many qualities, f irst and fore-
most it is a vital representation of a trotting horse,
the portrait no doubt accurate, the movement
faithfully preserved in a highly finished style.
All the physical tacts are rendered with excep-
tional skill. Signed and dated 1 S 1 S, it was
painted when Towne was fifty-five. One
would expect an artist with so much experience
of handling paint to have acquired in the course
nl his evolution a broader manner, hut as that
pioneering art scholar, Walter Shaw Sparrow,
writing ot Townc's pictures remarked, 'Instead
ot developing from sedulous precision into a
treer and a loose handling, they move away
from breadth ot style into superabundant detail
and delicacy'. The artist did not exploit the
facility that he must have gained during the
course ot forty years at his easel. Another factor
that gives this painting charm and interest is the
wav in which Towne has placed the horse 111 a
landscape ot pictorial actuality from the back-
ground with small hunting figures to the- elab-
orate drawing ot leaves and grasses in the
immediate foreground. The landscape element
in sporting art is apt to be ignored or over-
looked in contemplating the mam reason tor the
subject — the animals themselves. Throughout
a long tradition the- best artists from the eight-
eenth century to the present day are as good .it
landscape as they are 111 depicting horses and
hounds. Towne in this respect seldom tails to
convince us ot his knowledge of the rustic en-
vironment 111 which he places his .1
Thomas Gooch. Gen-
tleman with his hay
hunter and doi>s in a
landscape. Signed and
dated 1786. Canvas 26
37 inches. Ackcr-
mann.
'The Influence of Crome'
Till-, exhibition under this title, opening on the
23rd ot this month at the Lowndes Lodge
Gallery (Cadogan Place, London, S.W.i), is
a veritable (east ot the beauts ot landscape as
expressed by artists ot the Norwich School,
founded by '(lid Crome', whose birth bi-
centenary takes place on I )ecember 22nd next.
Remarkable is it that this artist, born 111 the poor-
est circumstances, should have graduated from
errand box and sign painter to the position ot
one ot the world's great exponents ot the
country scene. 1 lis influence on |. 15. Ladbrookc
is particularly noticeable 111 the latter artist's
picture ot a country lane with trees on either
side, worked out in exquisite detail and admir-
able colour. Nor is it surprising that (amcs Stark
echoes C Tome's sentiment in a painting ot an old
cottage, considering that Stark studied under
him tor three years before entering the Roval
Henry Bright. Landscape near Windsor. Signed and dated 1N43. 9 ', 141, inches. Lowndes Lodge Gallery.
JX2
4*
Academy Schools in 1X17. George Vincent
bom 111 Norwich 111 1 7';f\ also had the advantag.
of working with C rome before coming t'
London in iNi<;. Pictures by him reflect th
genius of the master 111 their devoted attentio
to natural tacts. It we compare a painting b
Henry Bright (1814-73), a subject done in th
neighbourhood of Windsor, with earlier mem
hers ot the Norwich School we can see hov
Bright, through 'Old Crome' and |ohn Berne
his son, added his valuable quota to the traditior
And the same applies to E. R. Smythe with hi
picture ot Yarmouth Jetty. This is not to say tha
these artists were so overwhelmed by Crome'
genius as to be merely derivative. On the con1
trary, they stand 111 their own right tor naturj
w as their guide. It so happened that Crome wa
the forerunner and showed the way, as he him
sell had been influenced by Hobbcma. There ar
about fifty examples including several J. S. Cot'
man drawings. A tew works by Bright, M. E
Cotman, J. B. Crome, Alfred Priest and B. H|
Ninham have been lent by Norwich CastI
Museum.
Lovers of English landscape painting shouL,
make an effort to see this show, which may alsiJ
be regarded as .1 memorial tribute to the late Ml
( >sc .11 I oh n son who spent much of his life study
ing works of the English School as a w hole.
Fine Sporting Pictures
THE annual exhibition ot sporting painting,
which opens at Messrs. Ackermann's (3 01<|
Bond Street, W.i), during the last week of thifl
month and runs through November contain!
three 'primitives', so-called, notably a Join
Wootion ol ( Uvrge /'* Arab ' I loin' in a classical
background ot buildings and a decorative un
wnh the i low 11 011 lop I lure are two spuitci
racehorses by |ames Seymour. The |. F. I lerrinj
ol Mciimoti with Willi, 1111 Scott up, wearing;
harlequin shin is conspicuous lor its colour any
detailed finish. ( >n tilt other hand. Ben Mar,
shall's group ol spoiling personalities weannj
lop hats and long coats, has 1 hai ac teristiu
breadth ol touch and not a little humour. All
102
0U1rh he exhibited 76 pictures at the Royal
cademy, the work of Thomas Gooch is little
lown now. He must surely be at his best with
bay hunter, his owner and dogs in a landscape,
;ned and dated 17X6.
Both historically and aesthetically important
John Fcrneley's early picture of the Quorn
unt in full cry, containing portraits of Lord
fonley and Thomas Asshcton Smith, one of
•rncley's early patrons. It is signed and dated
!o6. Two romantic versions of racehorses are
e Earl of Godolphin's Scham with an Arab
der up, and Roxana held by a groom. They arc
/ F. C. Turner, painted 111 1S45 and engraved
g J. S. Mackrell. Thomas Weaver is repre-
nted with a picture of" Lord Powis and his
Hinds in a Welsh landscape. Other artists in
is collection of unusual variety are I >avid
alby, J. Cordrey, D. Wolstenholme and
mes Barrenger.
Lcger Galleries
JV1ES BAKER PYNE (1800-70) was .1 most
laginative landscape painter who improvised
1 nature with brilliant colour. A large picture
Heidelberg showing the ruined castle to the
ft, a middle distance view of the town and the
line winding away to the tar horizon is some-
ing of a tour de force in drawing and chromatic
Feet. It is one of many paintings that resulted
3iii Pyne's visits to Germany, Switzerland, and
ily. The artist exhibited at the Royal Academy
d at the Society of British Artists ot which he
is Vice-President for a tune.
Another accomplished Victorian artist was
itnes Webb (1X26-96), and his Normandy
oast with cliffs and fishing boats 111 a rough sea
s considerable vigour.
A rare seventeenth-century Scottish painter
as William Gow Ferguson, who studied tor
veral years in Holland. Returning to his native
'Untry he concentrated on still-life and a Dutch
fluence is obvious in two pictures of dead
me. Of the same period is Nicolaes van
:rendael, known as a painter ot flowers,
hich he rendered with extraordinary veri-
similitude. These are a few ot many paintings
from the seventeenth to the nineteenth centuries
to be seen at the Lcger Galleries (13 Old Bond
Street, W.i).
Brod Gallery
AN important Van Goyen called A View of
Rheneu from the East, signed and dated 1639, is to
be seen at the Brod Gallery (34 St. James's
Street, S.W.i). It belonged in turn to Sir Jere-
miah Colman and Sir Michael Colman, was
exhibited in Amsterdam in 1903, at the Royal
Academy exhibition of Dutch Art 1952/3,
recorded by Hofstede de Groot, and will be in-
cluded in the forthcoming book on Van Goyen
by Dr. Hans Ulrich Beck.
Other old masters at this gallery include a
painting of Christ and the Adulteress by Pieter
Brueghel the Younger (1564-1638), a work
crowded with figure interest and rich in colour;
an Albert Cuyp of three children painted with a
charming sense ot youthful character and spon-
taneity of touch. There is a winter scene by
Hcndrik van Avercamp with groups ot skaters
111 lively and amusing attitudes. A small picture
by Aert van der Neer showing a river, churches
and a mill under dark clouds, and men on the
bank playing golt is painted on paper affixed to
canvas, and how well preserved it is.
At Messrs. Leggatt's
BETWEEN Pieter Brueghel the Elder who died
in [569 and Abraham Storck, born about [635,
is no great span of time. Brueghel's Storm at Sea
(Kunsthistorisches Museum, Vienna.) is a key
picture in marine painting, and the Dutch
School devoted to sea and ships was well
'launched' with the Van de Veldes, De Vlieger,
Ludolf Backhuysen and others. Storck was
much influenced by Backhuysen, his immediate
contemporary. A picture ot sonic naval occasion
by Storck (Messrs. Leggatt Brothers, 30 St.
fames's Street, S.W.i), is typical of his way with
nautical processions. The Admiral Zeilen,
an van Goyen. A View of Rhenen from the East. Signed and dated 1639.
Canvas 37 51J inches. Brod Gallery.
Abraham Storck. Tin
Brothers.
Amsterdam is the title of this painting. It (he
formalised arrangement of ships looks rigid and
crowded to the point of hazard the artist's in-
tention was probably symbolistic rather than
realistic. Not until we closely study the little
boats in the foreground are we aware ot musi-
cians, dancers and a harlequin performing on
their decks.
A complete contrast to the tun and movement
of this Dutch picture is Atkinson Grimshaw's
Going to Church on a serene autumn morning,
the last leaves falling into the roadway skirting
the Georgian mansion from which a mother and
her children have just emerged.
British Sculpture
ALFRED STEVENS and Alfred Gilbert are the
greatest names in a comprehensive exhibition ot
sculpture now running at the Fine Art Society,
(148 New Bond Street, W.i), I wonder how
many people 111 a thousand members ot the
public could identify any of their works. The
Wellington Memorial in St. Paul's by Stevens is
an outstanding masterpiece. I once asked a large
class of art students to tell me the name ot the
artist who created Eros and encountered blank
silence. The Piccadilly Circus fountain is, ot
course, by Gilbert. Both these sculptors had
chequered careers, the former dying somewhat
prematurely, maybe worn out by the troubles
for which he was not responsible in relation to
the Wellington Memorial. Gilbert, after achiev-
ing great fame, got into difficulties because of
his idealistic temperament, retiring to Bruges
where lie lived 111 voluntary exile tor about
twenty years. An old man of seventy-two, he
returned to England to complete the memorial
to the Duke of Clarence in St. George's Chapel,
Windsor.
This exhibition which represents 53 artists
with over 200 works in addition to a large num-
ber of medals is one of the most important to be-
held in London for many years. It is under the
auspices of the Victorian Society. Mrs. Handley-
Read's scholarly articles on Gilbert now running
in The Connoisseur are very timely.
Admiral Zeilen, Amsterdam. 30J 40.I inches. Leggatt
I 0.3
Art in the modern manner
ALASTAIR GORDON
TIUS year's City of London l-cstiv.il
followed up .m idea, that had been first
done m Bristol, ot displaying contemporary
sculpture in the open. In squares, patios, gardens
and precincts scattered over the famous Square
Mile, works ranging from Henry Moore and
Barbara I Icpworth to the latest psychedelic
devices were presented to City workers, tourists
and students. It was a brave and experimental
addition to the other manifold activities of the
festival. The intention, to get modern works
out of the galleries and into the open where the
myriad populace could perambulate amongst
them, was right. Whether it succeeded is doubt-
ful. The main displaying area was that around St.
Paul's, where there arc plenty of modern build-
ings with open spaces and vistas, as well as some
gardens and St. Paul's Churchyard, and I ex-
amined this area most frequently.
At the risk ot appearing too persistent on a
subject 1 find myself writing about often, I must
re-iterate that it sculpture and architecture arc to
go together, then sculptor and architect must
work in i lose harmony from the very start,
right from the drawing board stage. 1 [eights of
buildings and their relationship to horizontal
spaces, the texture and colour ot building
materials, fenestration and moulding, w here the
sunshine will tali and shadows form, whether
the background is rural (trees and grass) or urban
(traffic and streets), or marine; all these must be
considered so that sculpture and building will
enhance each other and only have added beauty
and meaning beonise ot the other.
In arrange sculpture which has not been
designed tor the place m which it is exhibited
means that any harmony is going to be fortuit-
ous, and this w as indeed the c ase, tor very lew ot
the pieces set off* their surroundings or vice
versa. The greatest stumbling block, however,
was the jumbled vitality of the City of London
itself. The rush and bustle of vulgar red buses,
thunderous lorries and all the other traffic, shop
and advertising signs, litter bins, scaffolding,
window cleaners' equipment and garish placards
saying 'office space to let' all helped to drown
the trim aesthetic voice of modern artists' con-
structions. I tear that the weakness (if it can be
called that) ot modern constructivist sculpture is
that it is only really effective when it can be con-
templated in peace and calm. Henry Moore
fared well at the Tower of London, where the
traffic is pedestrian and the building and river as
timeless as the Reclining Figure and The Warrior.
The Daily Mirror building put their sculpture
display inside, but visible from the street
through a vast sheet of plate glass, and people
did stop to look. Elsewhere the reaction was
more indifference than appraisal.
1 hope tor a total vindication ot the City ot
London's experiment, which is that even it the
display itself tailed, it may have fired architects
and their property magnate employers into
thinking carefully and imaginatively as to what
can and should be done. It London (or some
other enterprising City?) could create a kind ot
modern Piazza della Signoria, then we really
would have something exciting. We are, after all.
now a World Power in sculpture.
T he Oxford University Press, in their offices
in Dover Street, have been patrons to some
interesting exhibitions. All through this summer
they have been hosts to the Contemporary
Portrait Society, whose chairman is that most
excellent ot painters. Professor Carol Weight,
and it was founded in 1961 by Simon I licger.
It was Manet who first demonstrated that
there was an alternative to the official and posed-
looking portrait by making pictures of people.
Since then, via Degas, Renoir and Sickert, the
Hi-low. Interior of the New Grafton Ciallcrv.
good painting that happens also to be a portr.
has become the preference of good artists. In o
tunes, when photographic equipment and tec
niques are so clever, the visual recording of i
dividual human beings is largely a matter
skilled craftsmanship. And that is what oil
style portraiture has become. At the same tin
after all the abstract and non-representatior
activity, contemporary artists have realised ti-
the vital clement in art is the human contei
Man with his brain, with his soul and spirit, L
his gradual seizing control of his environme
throughout the planet, man the only histo
maker, the only artefact maker. L'ntil qu:
recently, painters who wanted to make pictui
of people, but didn't want to fall into the cf
based boardroom portrait mould, were in
dilemma: they did not know how to cqus
modern idioms to what they had to do. It
strange — almost inconceivable — that such
dilemma should have existed at all; Sickert, ai"
much later, the Euston Road painters Col
stream, Rogers, Pasmore and Cowing hadshov
the way with splendid integrity. But soui
English theorising was not quite enough in fa
of the big European stars and the growii
power ot American abstract painters: som.
thing else had to be found. In their quite diffdj
cut ways the intense and compelling close-til
ot such as Stanley Spencer, Bacon, Bratby ad
Lucian Ereud provided the answer, and now \a
have the psychology of man rather than !j
physiognomy. No doubt the breed of earn
graphers of faces, pinstripe suits and unifortl
will continue so long as there are people \vh
want that sort of thing as a record or indeed ad
status symbol. It is certain, though, that t]
mainstream of portraiture will emphasise t;j
individual as a personality reacting to an enviroj
ment and achieving full significance by ti
mood thus created. s
Two new galleries have opened to a got]
start recently. The Rcdmark is in St. Christ!
pher's Place off Wigmore Street. Here, inl
beautifully appointed gallery on two floors is]
good intcrnatn1n.1l cross-section 01 contempt!
arv paintings, sculpture and prints. Interspersl
with these, and not looking a bit out ot placl
are African carvings. This gallery has an excitiJ
programme planned tor the near future. It wl
deal in the finest contemporary works, publil
prints either lor buying or hiring, institute I
advisory service tor collectors and procure coil
missions tor public buildings. It will attempt!
long needed co-ordinating operation betwcl
artists and public by finding out what indivj
duals or institutions w ant and then finding tl
artists to match requirements. This should I
welcome news tor collectors who don't kiiol
where and how to start, and to artists who cal
not find an outlet.
The new Grafton Gallery will pursue J
policy of showing figurative painting by liviij
artists, and in its upper gallery watcrcolours an
iwings of the 18th and 19th century. There is
particular intention to show the avant-garde
t rather traditional English style, mostly
idscapes, with good pedigrees. There is a long
ot" painters in this country who suffer some
gleet commercially because they are not near
any particular dogma or -ism. While most
them will never set the Thames on fire or pcr-
ps even wish to, they are far better as artists —
arc thinking and intelligent — than many a
:o who commands high prices too young,
lis gallery and the Redmark should both
osper in their different ways.
The celebrations of his 70th birthday which
List have been boring Henry Moore underline
i impossibility of realising his towering
nius unless confronted direct with his sculp-
res. The press publicity has produced a whole
: of photographs which cannot do him justice.
) really appreciate one of his great figures
quires one to walk all round it, squat on one's
els, climb ladders — anything to get an in-
ite number of viewpoints. Only then can one
■ the subtle forms and how they all merge to
-m a miraculous unity that expresses the whole
t and soul of humanity. It is a similar experi-
ce as moving all round and about the figures
the Medici tombs. The publicity given by
otography and high quality reproduction can
ly do a disservice to the world's greatest living
ists, particularly the sculptors. Art is for par-
ipation — it is not a spectator sport.
Above. Interior of the Redmark Gallery.
Left. Henryk Gotlib. Self-portrait. Oil on canvas IS 14 inches. Contem-
porary Portrait Society.
Below. William Pye. Untitled 1. In Cathedral Place by Paternoster Square.
City of London Festival.
A
Continental Dispatch
FROM GERALD SCHURR
f
i . Auguste Rodin,
■it Zagreb.
Thi Age of Bronze. Exhibition
Zagreb. A tribute to Rodin
THE museum of fine arts in Zagreb,
Yugoslavia, is at present paying a fine
tribute to the protean genius of sculpture of the
end of the nineteenth century, Rodin. There are
fifty bronzes and marbles, ten watercolours and
ten drawings to illustrate the universal brilliance
ot a master whom it is difficult to confine to any
date or frontier. As Courbet or Monet were for
painting. Rodin was the bridge between roman-
tic and modern sculpture. Possessed of'lyrica]
power yet a realist, classic in style yet an im-
pressionist, by his extreme sensitiveness and bold
expressiveness he very soon freed himself from
the stranglehold of the style of sculpture of that
period. In the number and nature of his works,
his continual inspiration and proud mastery of
his art he resembles Michelangelo. He too ex-
perienced difficulties, controversy, torment,
glory and power. In the history of sculpture
throughout the world the genius of Rodin stands
as a signpost which points the way to contempor-
ary plastic art.
Augsburg. Bavarian Baroque
THE impact ot the Baroque upon Bavaria
emanated from the multiplicity of Gothic forms.
This is what is shown by the exhibition (until
October i >th) at the town hall of Augsburg. The
intellectual orderliness of the Renaissance was not
felt there. At Augsburg Baroque artists worked
without constraint m a highly expressive Man-
nerism. This exuberance which w as to develop
into Rococo can be traced in every discipline,
every technique and every subject. It determines
the character ot' every artistic conception. A
dynamic power and irresistible urge seem to
invade every composition. In many respects our
own time is possessed by this agitation, this
sensuality, this questioning ot traditional ideas.
The Augsburg exhibition will excite enthusiasts
tor modern art as well as historians.
Ghent. German Expressionism
AT the time that Fauvism was causing a great
stir in France, in Dresden m 1905 a revolutionary
artistic movement was being started — the
Briickc. with Kircher. Schmidt. Kotcluff, and
Heckel. The nucleus of this group, soon to be
joined by Pechstem and Nolde. moved 111 191 1 to
Berlin. In Munich Franz Marc. Macke, Munch
and Kandinsky tounded the 'Blaue Reiter'. All ot
them, like the Fauves in Paris, claim affinity with
Van Gogh and Gauguin. They are animated by
the same creative, romantic, occasionally
dramatic, fever. It is fortunate that Belgium, who
also contributed to Expressionism with Rik
Wouters and Permeke, has put on show tor art-
lovers these painters w ho are not always well
known outside their own countries. The exhibi-
tion at the museum 111 Ghent until November
3rd offers a complete panorama of a style truly
symbolical of the restlessness of the period.
Baden-Baden. The latest Picassos
PICASSO is now 87. The exhibition at
Staatliche Kunsthalle until October 6th, devo^
to his recent works, reveals a creative force wh
is still prodigious. His variations, for instance, j
the theme "L'artiste et son modele' demonst
the skill, imagination and humour of one wl|
throughout more than seventy years of ex
ment and research has never ceased to inve
constant variety of forms.
Brno. Paintings under glass from the
seventeenth to the nineteenth centurie:
CZECH museums possess numerous collecdcl
ot paintings applied to the back of glass. The a
hibition at the Fine Arts Museum of Brno, un
October 30th, first seen at the Musee Cantit
Marseilles, in June is a collection of about i
items of this native art. The craft was widl
practised from the end of the seventeenth centv 1
in Bohemia. Silesia. Slovakia and Mora\
Naive and primitive pictures, pious or profai
were painted 111 bright colours on the ba<
ground ot a mirror in simple, stylized, express
forms. These compositions retain their fun<
mental originality as distinct from the French a
Italian pictures under glass inspired most oft
by paintings and famous engravings.
1. Saint H.irb.irj. Painting applied to the back
glass, so 3.1 cm. Moravian. Early ninctcci
centurv . Museum at Hrno.
lOf'
. Jean Baptiste Deshayes. Martyrdom of Saint
[ndrew. Canvas, 4 • 45 214 metres. Musee des
ieaux Arts, Rouen.
5. Guillaume Dupre (died 1643). Louis XI II js .1
child. Height 56 mm. Medallion which fetched
3,600 francs plus costs at the Hotel Drouot.
Rouen. The Museum enlarged
"HIS summer has seen the inauguration of
:veral rooms at the Musc:e des Beaux Arts,
touen: the Delacroix room in which some fifteen
reparatory drawings are grouped round the
uge 'Justice of Trajan' by this Romantic master;
ne Jube room, which takes its name from the
Ionian columns which formerly served 111 the
[instruction of the jube (since demolished) of the
athedral. This room contains a series byjouven-
c", two paintings of La Hyre which could be
onsidered Ins masterpieces, outstanding works
y Philippe de Champaigne, Poussin and Jean-
rancois de Troy and three canvases by Deshayes
f the 'Martyrdom of Saint Andrew' which was
nich praised by Diderot in his Siilons. Lastly
fiere is a series of rooms devoted to artists of
Jormandy from the eighteenth century to the
resent day. in particular to |acqucs-Emile
•lanche, portrait painter of the Belle Epoque,
•ith portraits of about fifty celebrities.
A new exhibition room. The Hilton
Hotel at Orly
'ACTUEL-PROMOTION' is .1 new organiza-
tion that lias |ust been started with the .1
bringing more of the public into contact w ith
w orks ot art. Rooms 111 the very modern Hilton
Hotel at Orly have been chosen this month to
display two exhibitions. The first from October
2nd to 17th is devoted to Grand'mfcrc Paris, an
authentic 'naive' artist (there are many sham
primitives). She is ingenuous and uplifting. For
the first time there are naive tapestries 111 which
the author instinctively recaptures the original
purity of the weavers of the Middle Ages, and
there is the same spontaneity in the gouaches and
watcrcolours surrounding them. The second
exhibition, ot later works, contains tapestries
woven according to a new technique (perfected
by the Galerie Suzy Langlois) not using a frame
essential to the traditional form. This has two
advantages. It allows the tapestry to be hung
round doors and windows and to be made in am
size. The price ot these pieces, limited to six
copies, is about tour times lower than those made
111 the traditional manner. Many artists, including
the best cartoonists, have favoured these 'new'
tapestries, w hich allow ot every possible range ot
colours.
A growing interest in medals
RATHER belatedly the ever grow nig popularity
of this kind of object has been confirmed In the
medals up for sale on June 28th .11 the I lotel
Drouot by Mes Couturier. A medallion repre-
senting Henry IV and Mane de Meduis fete led
with costs, £&oo. and a (.harming oval mi al
representing Louis XIII /J.? so (including co< ■).
107
Henry Moore
a 1968 assessment
JOHN FITZMAURICE MILL
BORN in 1*9*. Henry Moore, a retrospective exhibition of
whose work was held at the Tate Gallery last month, has
bridged the fomenting revolutions of the creative visual arts this
century. Fostered in the twenties by the "truth to material' thesis
of such as Dobson, Epstein and Gill, he has kept faith with him-
self in the evolution of his personal odyssey. The barque of his
vision and imagination has navigated as stormy currents as any.
Henry Moore has had all of his share of ribald sneers, of bright-
lit publicitv. of misunderstanding, but his progress has been
guarded by his own great humility, which quality lifts him out
of the target area.
"For me". Moore has stated, 'a work must have a vitality of its
own ... .1 pent-up energy . . . independent of the object it
represents." His must be an outstanding proof against the laws of
heredity, with not only his own background but that of Britain.
From a country that had had practically no sculptural tradition he-
broke out with a genius for sheer creative expression, the like of
Locking piece, \>)dz 3. Bronze. Height lis; inches, lljnjm I.amhert,
Hrusseh.
which can only be compared to the tired triumphant titan wh
finally mastered the soul of himself from the marble of the "Piet
that stands behind the altar of the Duomo in Florence, four cerj
turics or more ago.
The influences whose flames have warmed the growing heart d
this sculptor have included, in the early days, Brancusi. Archiper
ko and Picasso". Movements that have been studied are Surrealist
and some aspects of Constructivism. But none of these are strictb
a part of his momentum. The rugged bronzes, the hewn woocl
and, more latterly, the great marbles are statements of a unio-
rather than a conquest or a struggle. The sympathy that th
sculptor has established with his materials produces ultimately th
concord of a well rehearsed duet.
On the Scottish heath, on the sand dunes near Arnhem, in thi
cacophonous city centres, in galleries worldwide and in privai
collections are chords from the repertoire. These places an
peopled bv facets of genius that may need a mental culling t
know but can be recognised as forces that have grown out from
mind that was unafraid; one who could see and had the courag?
and strength to develop a private language tor expression th;
could within his own lifetime gradually defeat the barriers q
ignorance, bigotrv and small-fear, to stand as an achieved esj
ploration.
The listing of Henry Moore's works does not necessarily prd
vide an even progress; often he has turned back to revitalize!
theme or statement. The early carvings of the mid-twenties, thj
near-abstractions of the thirties and the figures of the forties ari
primarily the foundations for the outflow of the last two decadei
The sculptor has said: "The human figure is what interests m
most deeply but I have found principles of form and rhythm tror
the study of natural objects such as pebbles, rocks, bones, tree
plants'. Herein he has given the password to his art. He elucidata
the seeming ambiguity of performance. He reveals the relatioj
between a human limb, a tree-form, rock strata.
Certainly pre-Columbian art has had much to encourage, wit
its proliferation of invented form. In the early 'Reclining Figure
there is an injection of the power of the Aztec images fror
Chacmol. 'Draped Reclining Figure' of 1953 has a clear Classic:
theme. Yet however many parallels are drawn between the ai
forms of Moore and those from the past or contemporary perioc
these can only be but frail premises on which to build an assess
merit on his accomplishment by his seventieth year.
Internationally — and an exhibition of his sculptures and draw
iii^s is now m progress at the Boymans-van Beuningcn Museuri
— he is an outstanding figure ot the age. The forms that he ha
given have wrapped within themselves the mystery ot man
unfoldmcnt; there cast in the one bronze or carved from a sjngl
block of marble is a force unleashed from his arsenal. A force tha
combines the unsullied sincerity of early elemental expressioi
w ith the sophistication of a mind that has been tempered on th<
anvil of research and history. But above this again it is first .
private and personal theme from this man who is so deeply in
volvcd bv his art that the w aves of publicity, success and con
trovcrsy have in no way turned him from his purpose.
■
Art news in pictures
Above and at right arc two paintings selected from the autumn exhibition
now running at the Leonard Koetser Gallery, 13 Duke Street, London
S.W.I: Still Life with Lemons, by Pieter Claesz, signed and dated 1627,
panel, 7; 10 in. (20 25 -5 cm.); and, at right, Still Life, by Hubert van
Ravesteyn, signed, panel, l6\ 13^ in. (42 34 cm.). The latter is illustrat-
ed in the 'Catalogue of Painting in the Rijksmuseum' (p. 252, No. 1974)-
The exhibition is composed almost wholly of important Dutch and
Flemish works: others include some finely executed flowers in a glass vase
by Balthasar van dcr Ast, peasants on a sunlit track from the brush of Jan
Brueghel de Velours, a finely contrived windmill set beside a river, by Jan
van Goyen, butterflies and insects from Jan van Kesscl and genre scenes by
Das id Teniers the Younger.
At right below: P.ntr.tii of Emma Van Name U- 1793), by an unknown New
York artist, canvas, 29 23 in., is No. 25 in the catalogue of American
Naive Painting from the collection of William Edgar and Bernice Chrysler
Garbisch now on exhibition at the Royal Academy, London, until October
20 and organised by the Arts Council of Great Britain.
hi Brief
University of Leicester, department of the history of art, in collabora-
tion with the (^ity Art Gallery, has organised the first of its annual
major exhibitions. Its title: The Victorian Vision of Italy: [825-
1875, opening October 1 1 , closing November to.
Sponsored by the Goethe-Institnt, a large international survey of the
Dada movement in art has just ended at the Walker Art Gallery,
Lira pool , amd will in the near future be shown in Glasgow, Dublin
and Loudon.
Swiss Art cind Antiques Fair will be held in the Art Museum,
Berne, from ( ktober 1 1 to 22.
Galpin Society is making its collection of musical instruments
available to the University of Edinburgh, on a permanent loan basis,
and will continue to add to the collection. Performance of music of all
periods and places on tin instruments < onceruci I will he encouraged by a
resident an Inrist.
Committee H, International Commission 111 Glass (Chairman,
Paul N. Perrot, Corning Museum of Glass) has produced its first
Newsletter. The latter is expected to be published twit e yearly.
. 1 new edition of ( iuidc Emer now being compiled will be published
hi March, 1969, circulating amon(> some 00.000 dealers and collectors
throughout Europe.
Broadway Art ( lallcry, Worcestershire, lias been acquired by Nigel
Lees who will sell British and American paintings ami sculpture. The
former owners have opened two complementary galleries for Spanish
paintings: Edmund Peel at Goya 63, Madrid, and Eric Peel at a m w
gallery at liallamodda, Isle of Man.
1 10
MA
I. Pair of early lSth-century flintlock hunting
rifle*, probably Austrian, with silver mounts.
Length 54s in. i(.~i.l55 (Christie's).
a. William Kent. Preliminary plan and deration
Wtr Temmscnd's building at Rousham. Oxfordshire.
£.1736.546 < 243 mm. ^"550 (Sotheby's ).
J. Thomas Gainsborough. Portrait study of J lady.
Hl*ck and white chalks., I94 12^ in. S^jioo
! [Sotheby's).
4- \* illiam and Mary sil\er dish by Robert
Cooper, 109;. jo oz. Diameter 14. in.
Christie's*.
a-t Cuyp. Portrait of a girl holding a oplf
in el 15 10 in. £3,570 I Christie's 1.
lze fignre el Juno cast from the original
jodello sculpted by Benvennto Cellini.
Heigh: 1: in. ^"ji.ro: Sotheby's'.
M &
Internation
Saleroom
International
Saleroom
7. The Apocalypse. Manuscript on parchment
r. 1300, 310 220 mm., 3H leaves with 72 illu-
minations. 1,000,000 francs. (Palais Gallicra, Mes
Khcims, Laurin and Khcims). / I F.I 1. 87.
8. Jan Brueghel. Wayfarers </»</ peasants on .1
tounlry ro.nl. Signed and dated l(t.\H. Copper 9
14J in. £l 1,000 (Phillips, Son and Neale).
9. From a collection of Japanese pottery. Late
18th-century Sliino tea bowl, £60. Early 19th
century Kosobe howl, signed Kosobei, £150.
Yamashiro tea howl, impressed marks Oinuro
and I oho, c. 1K60, £45 (Sotheby's).
10. One of a pair of George III silver-gilt wine
coolers by Digby Scott and Benjamin Smith,
1805. Height 12 in. Weight 399 i>z. £",0.S0 (I lenry
Spencer and Sons, Retford).
11. Chimu gold necklace, Peru, A.l). I2OO-I300.
Height of figures 1 \-2b in. £1,785 (Christie's).
12. Pair late 17th-century Japanese Kakicmon
figures. Height 15! in. £3,200 (Sotheby's).
I I 2
International
Saleroom
13. Pair Bottger white chinoiserie figures. Incised crossed swords mark
within a triangle on one. Heights 4 ; and 6' in. £462 (Christie's).
4. John Frederick Herring, Snr. Siitilcrn with Fred Archer up. Signed
and dated 1828. 18 23,' in. £13, 650 (Christie's).
15. George I carved and inlaid walnut card table. Width 33 in. ,£2,000.
(Sotheby's).
16. Pierre-Augustc Renoir. Jeune fillc de profit, c. 1888. Signed. 011132
0111235. 1,070,000 francs (Palais Gallicra. Mes Ader, Picard and Adcr).
£1 -- F. 11.87.
17. One of a set of six carved and painted Louis XV fauteuils stamped by
M. Cresson. 166,000 francs (Palais Gallicra. Mes Ader, Picard and Ader).
£l = F. 11.87.
18. Late 18th-century Adam painted satinwood writing conn tie
108,000 kroner (Arne Bruun Rasmussen, Copenhagen). ,£1 = KR. 17 >6.
"3
Books Reviewed
Dr. Rosenberg's judgements
ON QUALITY IN ART: lis [akob Rosen-
berg. ( I'h.nclc in. £4 4s.)
Till author ol 1 his volume, based on the
Mellon In tun s delivered .it Washington in
i<X>4. sets out to solve a major aesthetic and philo-
sophic problem— no 1 1 1 1 1 undertaking; and at
the end ol ,1 diligent .mil highly competent en-
quiry one is by no means convinced that .1 final
answ cr h.is or c .111 be found.
What is quality in art, or in the words ol the
sub-title, what 'the criteria ol excellence, past
and present' is the question raised. This is not a
hook tor the incurable sceptic, who holds (but
he holds nothing with complete assurance) that
beauty is entirely subjective, not amenable to
objec tive tests, and exists only in the eye of the
beholder. As the Saint affirmed, those whowould
know God must believe that he exists, and
mutatis mutandis an act ol l.uth is also demanded
ol those who would embark on this enquiry
cherishing an\ hope ol .1 successful issue to then'
quest — once embarked they will he rewarded
even it for them the apprehension ol beauty is
almost solely intuitive.
A belief 111 the reliability ol 'quality judgements'
in the pasi is not likely to be buttressed by the
first part ol Dr. Rosenberg's hook, 111 which he
considers the pronouncements on the problem ot
representative critics Giorgio Vasari, Roger de
Piles, Sir |oshua Reynolds, Thcophile Thore and
Roger I ry. T hese pronouncements reveal an
extreme diversity ol opinion even on kisie
principles and 111 the estimates ol individual
.mists, the single unifying lac tor being the
exaltation ol the c I.issk al tradition, at least down
to the mid-nineteenth century. Thorc's he con-
centrated mainly on Dutch and Flemish paint-
ing outstanding abilities have not hither-
to received due recognition. Roger Fry put paid
linallv to any hope ol an approach to a c onsensus
ol opinion on principles by coming near to
emptying the bain out ol the bath. In his final
phase he insisted that plastic form as expressed by
Cezanne was the supreme, indeed almost the
only, value, lie virtually wrote oil Greek and
mediaeval art and decided (hat Negro sculpture
excelled all else 111 'sensibility' and 'vitality',
qualities by whi< h he set the highest store, though
the terms are vaguely defined.
In the second part ol the volume the author
seeks to establish reliable criteria lor value,
judgements and quality by a comparison over a
like period ol about lout centuries ol drawings
and prints l>\ major and minor artists, from which
a whole stung, o| distinct and essential qualities
emerge sensitivity, selectiveness, vitality, rich-
ness ol formal relationships and hall a do/en
more. I hough this is a profitable and absorbing
exercise-, one lecls that the enquiry can scarcely
be strictly impartial, because to some extent the
judgement is really determined in advance: we
know, or aie convinced that we know, Rem-
brandt to be a greater artist than Nicholas Maes
and Watte. 111 than Lancrct or Rater. Dr. Rosen-
berg frankly admits the limitations ol his in-
vestigation, and even confesses to a sense ol
frustration — 'We compared only works ot art
ol similar style and technique within the same
period but did not undertake the more risky
comparison ol works ot different periods and
cultures. We will recall that Vasari and a host ot
followers debunked mediaeval art because of
their own classicistic prejudices, and that Roger
Fry placed Negro art above true master works ot
the ( h eck 1 l.issu al period : something 111 us rebels
at our inability to prove more distinctly how
wrong these critics were'. No, it is quite impos-
sible to demonstrate their tailings. All the same
the enquiry is abundantly worthwhile and Dr.
Rosenberg has maintained the high standard c f
books based on lec tures in this series. — R.F.
ENGLISH DELFTWARE POTTERY IN
THE ROBE RT HALL WA R REN COL-
LECTION, Ashmolean Museum, Oxford:
By Anthonv Ray. (FabercV Faber. £$ ss.)
DURINC the twenty years between the two
World Wars, a number ot discerning enthusiasts
found it possible to bring together ceramic col-
lections ol a quality ami variety whi< h w ould be
w ell-nigh unattainable at the present time. Among
these, the collection of English delftwarc made
by Mr. and Mrs. Robert Hall Warren and pre-
sented to the Ashmolean Museum 111 [963, is of
outstanding interest to students and collectors ol
these wares. Robert Hall Warren, whose home
was at Clifton, first became interested in the
West ( 'ountrv potteries as a result ol a visit from
.1 member ot the Rountncy family, ow ners since
the early nineteenth century ol a still surviving
Bristol potterw Among others whose friendly aid
he was able to enlist were authorities such as
Bernard Rackham, E. A. Downman, Dr. Beau-
mont ami Dr. Glaisher, w hose tine collection is
now in the Fitzwilliam Museum at Cambridge.
He knew also the direct descendants ot |osepll
Flower, a painter ol delftwarc in Bristol during
the Inst half of the eighteenth century; and from
this source w as acquired, among other pieces, the
'Flower Bowl', a well-known documentary
example, signed and dated 1743.
In spite of a natural predilection for Bristol
wares. Hall Warren's interest, while excluding
Hutch Delft, was extended to the London and
Liverpool factories. The collection is, therefore,
fully representative' ol the principal English
centres ol manufacture. Many works of refer-
ence, together with his notes and a manuscript
catalogue, w ere also bequeathed by Mr. Warren,
hut since Ins death, further research, particularly
that ol Professor Garner, has necessitated a cer-
taill amount of' tea lassilic at 1011. I lns task, under-
take 11 by Anthony Ray, has resulted in an excel-
lent book, e 1 1 1 brae ing the tec hnic al and historical
aspects of the subject, and providing, a valuable
guide to the origins ol' a variety ol decorative
motifs. It the author's attributions appear some-
what tentative to some readers, it should be
remembered that, in view of the uncertaintie
inherent in assigning each type to a particula-
place of manufacture, he has wisely preferred tc
adopt a method of grouping according tc
characteristic styles of decoration. Eight coloui-
plates and more than 300 pieces illustrated ii
monochrome give a comprehensive picture o'
these wares from the second half of the seven-
teenth to the last quarter of the eighteentl
century. — R.S-1 1.
ECCE HOMO: By George Grosz. With ai
Introduction by I Icnry Miller. (Metluien &'
Co. Ltd. /:44s.)
THIS book prompted violent protests when i'
was first published in Berlin in 1922. Its illustra-
tions then presented to the public a picture of 1
society whose moral standards were thorough!)
corrupted. The view that Grosz gives is one 01
unmitigated lust and depravity. They exprcs'
very forcefully the sense of the utter disillusion-
ment that so many felt after the holocaust of the
(■teat War. This despair struck artists, writer:
and thinkers in Germany with particular force,
because the whole labile ot society was shaker
by the events following the Kaiser's departure
into exile, when anarehv and hunger were all toe-
common throughout Germany. In these illustra-
tions Grosz launches a merciless attack on th<
vices ot the rapacious self-seeking elements ol
society which were such a feature, we are told
particularly in Berlin, of German life under the
Weimar Republic.
Mr. Miller's introduction gives an interesting
account of' Ins ow n life at this period and the
impact that this book had on him then, and the
significance that it still has for him. But what
about the rest of us. particularly those who arc
too young to remember this tune, whether in
German) or elsewhere? Does it have the same
signif icance for us: Is its message still as incisive a*
ever '-.
Very large claims have been made for Gros7
as a satirical artist. The blurb on the jacket tells us
lor instance that Mr. Edmund Wilson has called
him 'the greatest of" the satiric al artists, at least as
great as 1 logarth . . . '. and elsewhere his name
has been linked with ( !oya and I )aumicr.
But does his work re. ills on examination stand
up to the standards that these claims tor him,
suggest. Certainly, any view about this must
inevitably he subjective. But these corrosive
portraits as Mr. Miller aptly describes them, arc
very limited in variety. Grosz keeps on meeting
the same types, so that all the low women look
very much alike and the sell-indulgent financiers
are uniformly gross. ( iros/'s range ol invention
is, in other words, limited. It may well be that
the .11 list's bitterness has reduced the common
herd ol the vicc-ridden to an all too uniform ap-
pearance, fins one could take, no doubt, if the
vork reflected some spark of sympathy, felt by
he artist for the weakness of his fallen fellow-
reaturcs. Instead he holds himself aloof, unable
i >r unwilling to do more than trace the exterior
if all this greed, in all its most savage aspects.
:or he seems to lack entirely the gift of
ympathetic understanding. — J.R.
THE CATHEDRALS OF ENGLAND: By
Uec Clifton-Taylor. (Thames and Hudson. 35s.)
)NE visits an old church, one addresses oneself
0 a cathedral. Even the untutored eye cannot tail
o be impressed by the soaring spire of Salisbury,
, 0 beloved of Constable, by the distant silhouette
if Ely octagon as one sees it from Devil's Dyke,
iy Durham's fortress bulk viewed from the River
Vear below. The best of these vast monuments
the author's 'vintage' twenty-six) with their
xterior and interior rhythms of point, counter-
■oint — Lincoln's chapter-house, the vault of
Veils' chapter-house, Ely presbytery — are
ideed comparable to great music. And how
nuch more one gains if one can read the sym-
ihonic score. This is precisely what, in an agree-
ble and relaxed manner, Mr. Clifton-Taylor's
100k enables us to do. Detail of architectural fact
I ; always related to a bold assessment of the whole
n which aesthetic considerations dominate. In
■iew of his well-known expertise on building
natcrial, one is not surprised at the proper em-
■hasis he gives to the colour as well as to the
tructural qualities (and limitations) of the
aatcrials concerned — Roman brick and flint
St. Albans), I'urbeck stone (Lincoln, Salisbury,
.xeter, etc.), Barnack stone (Peterborough),
sandstone (Hereford, Coventry). In the last
named, which he subjects to the same enlighten-
ed scrutiny as the two Liverpool cathedrals and
( luildford, he praises, rightly in my opinion,
Basil Spence's bold contrast of Westmorland
slate with local pink sandstone. We have in this
book the best virtue of the subjective approach —
enthusiasm, tempered by the critical judgement
of the expert. He argues out loud so to speak the
pros and cons of the points he raises — the in-
terruption of vistas by a pulpitum, the relative
overall merits of the twentieth century as well
as of the 'vintage' twenty-six cathedrals. There
is a useful appendix of plans of the latter, with
commentary, and one would wish he could have
extended it to include the former with which
many will be less familiar.
The photographs are excellently chosen tor
accompanying what is never a stereotyped
account. In fact, Mr. Clifton-Taylor's freshness of
outlook takes me back to my Inst reading of Le
Corbusier's When the Cathedrals were white, and
f urther back still to some of that great architect's
rediscoveries: 'Nos yeux sont fairs pour voir les
formes sous la lumiere.' This book is published
opportunely when with the economic freeze a
tour of English cathedrals will offer a consoling
alternative to one of their Continental counter-
parts.—W.J. S.
HISTORY BY THE HIGHWAY: By M. D.
Anderson (baber. 30s.)
THERE is a story that — I suppose it was about
1890 — somebody said to A. |. Balfour, 'I hear
Photographed by IZIS
Text by ROY McMULLEN
Publication date: September 2, 1968.
163 pages of illustrations,
56 in full colour
269 pages 13x10 inches £8.8.0d.
ALDUS BOOKS
17 Conway Street tondon Wl
you arc going to marry Margot Tcnnant'. 'No',
came the reply, 'I rather thought of having a
career of my own'. The author of this book is
the daughter of the Master of a Cambridge
college and the wife of the last Director of the
Victoria and Albert Museum, but as M. D.
Anderson she has certainly had a career of' her
own. Nearly twenty years ago she wrote a
delightful book, Looking for History in British
Churches, and since then there have been several
others, of a somewhat more specialised character.
Now comes one which, although authorita-
tive, is not specialized at all: 'largely a book of
personal reminiscences', she modestly calls it,
'intended primarily to make holidays more en-
joyable'. To anyone who troubles to read it, it
can hardly fail to do exactly that. Miss Anderson
drives with us through England, telling us as we
go about the roads, the tracks, the turnpikes, the
old toll-houses, the windmills, watermills and
early industrial buildings; the great figures, some
of very ancient origin, outlined on the chalk
downs of several Southern counties; the place-
names, the origins of the villages, the markets,
hospitals and almshouses, the inn-signs and the
inns. How did they all come into being, when,
and why? In due course we stop at a typical
village tor luncheon, walk up and down the
main street, visit the church, of course — and
learn a lot more. Seldom has so much learning
been carried so lightly. This charming book
should become set reading in every school in the
land. But it will delight many adults too, includ-
ing, without a doubt, our transatlantic visitors.
— A.C-T.
An intimate and
challenging new study
of Chagall's work,
life, and thought.
Informed analysis is
illuminated by
revealing photographs
of the painter at
work on recent
major projects and
by outstanding
reproductions
(personally supervised
by Chagall)
of paintings, sketches,
and sculptures,
some never
published before.
The World of Marc Chagall
us
The Paul Mellon Foundation for
British Art announces two further
publications in their series
Studies in British Art
a series of publications which are going to
revolutionize the study ol British art . . . from
the point of view of presentation, the three
volumes already published could hardly be
bettered' . . . Burlington Magazine
Joseph Wright of Derby Painter
of Light by Benedict Nicolson
Two volumes : Volume I containing a critical
biography and a catalogue of the artist's
paintings with bibliography and 1 40 plates.
Volume II, 355 plates, including 1 0 in colour
Price Twelve Guineas
Joseph Wright of Derby (1734-1797) has until
recently been regarded as a minor artist, working in
isolation in his native town somewhat outside the
main current of English art in the 18th century Tins
monograph sets out to demonstrate by text and
illustrations that he stands not far below his greatest
contemporaries, such as Reynolds and Gainsborough
Mr Nicolson's book is among the largest and most
comprehensive ever to be devoted to an English
painter and as a biographical and interpretative study
it attempts to present Wright in every aspect
It records what is known about his life, affords a
critical commentaiy on his painting describes his
friends and associates who included Erasmus
Darwin, Josiah Wedgwood and Richard Arkwnght
and provides a catalogue of the surviving paintings.
An Italian Sketchbook by Richard
Wilson edited by Denys Sutton
Two volumes in a slip case Volume I repro-
duction of the 72 pages of the sketchbook
Volume 1 1 introductory essay by Denys
Sutton and a catalogue of the drawings by
Ann Clements. 64 pages including 58 plates
Price Six Guineas
The landscape painter Richard Wilson (1 71 3 83)
was in Italy from 1750 to 1756/7 Among the
works which have survived from that period are his
only two extant sketchbooks, one in the Victoria and
Albert Museum and the other in the possession of
Mr and Mrs Paul Mellon. The Mellon sketchbook
once belonged to Sir George Beaumont, the
famous patron connoisseur and amateur artist.
This sketchbook, of 72 pages, includes drawings of
architecture, scenery, trees and antique sculpture
and offers a most intimate revelation of Wilson s
activities and interests while in Rome. As evidence
of a British painter's response to the landscape of
Italy and to the Italian Classical and Renaissance
pan it is an important and revealing document
Previously published
Marcallus Laroon by Robert Raines €5
Holbsin and Henry VIII by Roy Strong 407
Zoffany and his Tribuna by Oliver Millar 35/-
Studies in British Art
are published by the Paul Mellon Foundation
for British Art in association with Routledge
and Kegan Paul Ltd, Broadway House,
Carter Lane, London, EC4 from whom a
prospectus is available
The series is published in the USA by
Pantheon Books who will issue the volumes
on Wright and Wilaon in February 1 969
ORIENTAL ARMOUR: By H. Russell
Robinson. (Herbert |enkins Ltd. TheArmsand
Armour Series. 60s.)
LEW writers could have attempted this first
panoramic survey of Oriental armour with any
hope of suet, ess, and none could have brought it
off quite so well. The writer is Europe's only
real authority on the armour ot Japan, which
inevitably gets the lion's share of his space, but
that is not to suggest that the rest of his area, from
Turkey to the Philippines, is neglected in the
earlier six chapters. The book opens with a
thoughtful discussion of the origins of armour
used in the East then ranges across the products of
Persia and Turkey, the Middle East, India,
Ceylon and the Philippine Islands, China, Korea,
Tibet and Bhutan, a chapter being devoted to
each regional group. The interaction of tech-
niques and available materials under the pressure
ol war and the demands of personal aggrandize-
ment make a complex and fascinating story.
This will not be the last word on any ol the
author's subjects, though it is the first on many,
but it is a valuable and welcome addition to a
neglected field of armour literature.
The clear text is illustrated with 32 pages of
plates and more than a hundred ot the author's
own incomparable drawings that analyse con-
struction and interpret the evidence ot manu-
scripts, figurines, rock-carvings and other
sources. Russell Robinson's sharp eye tor the
significant detail is apparent in the series ot
figures showing various types ot mail, armour
scales and lamellae.
Is it too much to hope that the very full index
and glossary and the select bibliography will set
the standard lor the tern, under of the Arms and
Armour Scries ? — W.R.
THE CONNOISSEUR'S COMPLETE
PERIOD GUIDES: Edited by Ralph
Edw ards and L. G. G. Ramses . (The Connois-
seur. N4S.)
WHEN, in l<;s'>, 1 Ik ( 'oiniois^ein initially
published an entirely new series of Period Guides
to individual periods, from Tudor to Victorian,
it was an inspired piece ol art publishing — for
the reason that the volumes concerned were the
first of their kind in w hu h the arts and Crafts of a
given time in history had been discussed by
recognised authorities within the limits of a
single volume, thus providing a complete work
ot reference wider in scope than anything that
had ever been published before in that form.
These admirably constructed, separately pro-
duced Period Guides were in short a perfect
illustration ol the fact, since widely recognised,
that the arts ol any period constitute a unity or
synthesis and should be studied together, thus
euh. lining the understanding ami appreciation
ol e.nh. hi each ol the volumes concerned not
only connoisseurs and collectors but anyone
interested in the arts of England -and this parti-
cularly applies to schools could lind whatever
they might require in a given period all together
under one tool : furniture, an hitc< Hire, painting,
sculpture, porcelain, glass, silver, historical
b.u kground, and so forth. The Connoisseur is now
to be congratulated on taking this thoroughly
worthwhile project a stage further in publishing
the complete set of these Period Guides in th
single handsome, if weighty, yet incxpensh
volume. — E.C.
BOOKS RECEIVED
(The inclusion of a book in this list does n<
preclude us from publishing a review later.)
Northampton and the Soke of Petei
borough: By Juliet Smith. London: Fabe
2 I s.
Bartlett's West. Drawing the Mexica
Boundary: Robert V. Hine. London: Ya
University Press. £5 12s.
The Colour Library of Art Series, Mexica
Art: By [ustino Fernandez. London: Pat
Hamlyn. 1 7s. 6d.
Ancient Crete: By Stylianos Alexion, Nichac
Platon and Hanin Guanella. London: Thann
and Hudson. £/] 7s.
Modern Czech Painting 1907-1917: B
Miroslav Lamac. London: Artia, Paul Han
lyn. 30s. i
The Museums of Paris: By Raymond Chai
met. London : Macdonald and Co. Ltd. 3
The Collecting Man: By ]ohn Bedfon
London: Macdonald and Co. Ltd. 5 ss.
F. Catherwood. Architect-Explorer of Tw
Worlds: By Victor Wolfgang von Hagei
Introduction by Aldous Huxley. Ban.
Publishing Co., Massachusetts. $6.95.
Art and the Industrial Revolution: B
Francis D. Klingender. London: Evelyf
Adams and Mackay. 5s.
The British Antiques Year Book: By Phili
Wilson. London : Collins. 25s.
CASSELL'S
COLLECTORS'
PIECES
JOHN BEDFORD'S scries
designed for those witli limited
knowledge and limited funds who
wish to begin a collection of
their ow n.
Coming on 10 October
Jewellery 1837-1901
by MARGARET FLOWER 12 '6
Toby Jugs
b> JOHN Bl 1)1 ORD 12 6
Already available
1. Wedgwood Jasper Ware
2. Bristol and other coloured glass
3. Staffordshire Pottery Figures
4. All Kinds of Small Boxes
5. Old I nghsh I tistre Ware
6. Pewter
7. Del ft ware
8. Wine Labels
l>. I nghsh Crystal Glass
10. Old Worcester China
11. Chelsea and Derby China
12. old Sheffield Plate
13. Silhouettes (12 6)
14. Paperweights (12/6)
Each d4 />/> ( town 8vo
Illustrated throughout Nos. I 12 W, 6
1 16
The American Connoisseur
Urbanity and verism:
the Late Period in Boston
:dward l. b. terrace
THROUGHOUT this series of four articles there has been
occasion to speak about a duality ot inspiration in Egyptian
rt, which boils clown to a conflict between idealism and natural-
fcm. This duality becomes extreme in the Late Period w hen we
Lave on cine side a strict, formal idealism which frequently
jhecomes banal, and on the other an intense realism which achieves
lie level of verism. In the splendid royal sculptures of the Kushite
ulers of the Sudan the two inspirations meet in perfect harmony.
| Reisner conducted an important series of excavations in the
[Sudan, uncovering the royal burials of the Kushites and Meroites
I tKurru, Nuri and Meroe itself. At Gebel Barkal the New King-
om temple of Amen-re was restored and augmented by the
aishite kings. From this temple come several great sculptures of
I licse rulers which are now in Boston (No. i). The ethnic features
f these southerners are portrayed explicitly, but the sculptural
[passes are broad and formal. The statue of Anlamani (623-593
■ 5.C.) facing us in the illustration is made of red granite which w as
•aimed red to intensify the colour. The statue ot Aspelta (593-
68 B.C.) is black granite. About 730 B.C. Piankhy, king of Rush,
1 onquered Egypt and established the Kushite 25th Dynasty. Even
Ifter their defeat and return to the south the rulers continued to
vear the double uracils, signifying sovereignty of Egypt and
Lush. The roughened areas were meant to take gold leaf. The
am s head pendants were evidently the insignia ot this house and
re found on most of the statues. From their burials has come a
■ orde ot gold jewellery, including the objets tic vertit 111 No. 2 and
olour plates 1 and 2. The electrum ram-headed sphinx in plate 1
armounts a stylized column inlaid with faience and stones,
mother royal jewel is the crystal orb surmounted by the gold
ead of a goddess, which belonged to a queen of Piankhy, con-
ueror ot Egypt. These jewels are a witness to the highly sophis-
icated court of Kush and the extent to which the court had be-
| ome Egyptianized.
A grey granite altar weighing six tons — actually a repository of
j ie barque ot Amen, used in a rite which imitated the ceremonial
iver journey of the god between his temples at Thebes — was
reefed at Gebel Barkal by Atlanersa. The detail here (No. 3)
jjlustrates an elaborately adorned Atlanersa (^5 3-643 B.C.) with
i.vo deities who tie together the plants of Upper and Lower
.' gypt. Here the Nubian physiognomy is represented 111 relief and,
ke the colossal statues, the style portrays a tense, active sense of
I ower.
Colossal granite statues of the rulers of Kush, Anlamani and Aspelta from
ebel Barkal: 23.732 (H. 3 m. 81 cm.) and 23.730 (H. 3 m. 32 cm.). Boston
luseuni Egyptian Expedition.
2. CJold ram's head pendant from Nuri. H. 3.7
nn., 20.269. Boston Museum Egyptian Expedi-
tion.
3. Atlancrsa holding up the heavens, and deities
tying together the plants of Upper and Lower
Egypt on his grey granite stand for a solar
barque from Gebel Barkal. H. of altar I m.
15 cm., 23.728. Boston Museum Egyptian Ex-
pedition.
t . K
mm
Between 671 and 65 1 the Assyrians tried to conquer Egypt, and
indeed Thebes was sacked by Ashurbanipal in 663. With the rc-
establishment of Egyptian power by Psamtik I in 651 a great
renaissance occurred. Renaissance is the aptest term for this period
whic h consciously returned to earlier models for inspiration. But
these models were copied with an infusion of original genius. In
the last years of the 25th I )ynasty and early during the 26th there
lived at Thebes a man named Mentuemhat, who was a Prophet
ot Amen and Governor of Upper Egypt. The decoration of his
enormous tomb, which is some of the finest work of the period,
has been almost completely destroyed. Enough has been preserv-
ed to show how it encompassed both the idealism of earlier periods
and the originality of his own time. Reliefs in Cleveland and
Kansas City portray the Governor with a vigorous power not
unlike that of the Kushite style. No. 4, also from the tomb, is a
copy of an Old Kingdom butchering scene rendered in a style of
smooth urbanity. A detail of another relief, executed on a minute
scale, has elegance of design with crisp accents of detail (No. 5).
This fragment, from the Way Collection, may also come from
the tomb of Mentuenih.it.
4. Limestone relief with butchering scene from the tomb of Mentuemh;
at Thebes. H. 33 cm., 65.1685. Egyptian Curator's Fund.
1 he black diorite statue ot another Prophet of Amen, Khonsu
ir-aa, with its pow erful and muscular body, is dated to the end c
the 25th I )ynasty,and is contemporary with Mentuemhat (No. 6^
The profile relates its idealistic tendencies to the two Mcntucm
hat reliefs. I lerc we see the renewed interest in complex anatomi
cal structure which had inspired the master sculptor of Mycen
nus' fragmentary triad in the 4th Dynasty (see The Comwisseut
July, 1968). No. 7 is the dark grey diorite head of a man who live
1 so years later, during the early Persian domination. Furrow
under the eyes and cheeks and the small depressions at th
corners of the thin lips give the head a particular individuals
which is set off by the purely conventional hag wig. Perhaps th
damaged, but originally great, portraiture of the wooden statu
in No. 8 w as made a little later in the Persian Period. This one
great sculpture is a very rare example of portraiture in woodei
sculpture.
It is not too much to say that the Boston Green Head is th
greatest example of sculpture from the Late Period (colour plat
3). Every conceivable detail of an older man is shown to us: tin
furrowed brow, the gnarled bone between the eyes, the crows
feet, .1 fleshy blemish under the left eye, brooding lids, furrowee
checks, bony skull structure.! he whole is executed with a sense o
asymmetry which is as vcristic as it is unusual- indeed almos
unrecorded in Egyptian art. The head is supposed to have beei
found by Mariettc at the Memphite Serapcum in [857-1858; wai
given by the Viceroy Said to Napoleon Ill's cousin 'Prince
Plonplon ; and acquired much later (from an unknown source) b)
the famous Boston collector ol ( !rcck art, E. P. Warren. In iyo.j
the Museum purchased it from Warren (the story is given by B
V. Bothmcr in Egyptian Sculpture <>/ the Lute Period, Brooklyn
i960, pp. [38 ff.). Bothmcr dates the head to about 220-180 B.C
W. S. Smith, Ancient Egypt </> represented in the Museum ol l int
Arts, Boston (4th Edition, i960), p. 17C1, places 11 111 the middle oi
the 4th century.
1 IS
The over-life size diorite basalt head of a priest wearing the
3tus-bud diadem of Hellenistic times is to be dated aiound 50
5.C. (No. 9). Within the constraint of formal structure the
Egyptian sculptor has caught some of the veristic impulses so
rilliantly exposed in the Green Head. The mottled stone deceives
he camera and it is difficult to capture the thick, ropy flesh of the
orehead. The pinched furrows of the brows are more formal
aan they are natural. The curly locks are Hellenistic.
From the end of the 26th Dynasty comes another brilliant
ortrait, this time executed in relief (No. 10). The subject is a man
tho makes offerings to a number of deities (not shown). These
gures were carved by a master sculptor but they are completely
lcking in individuality. But what a magnificent rendering of
articular features in the face of the worshipper! Here again it is
le features of old age which the sculptor has utilized to create a
jeeihe portrait. It is interesting that youth, however, is always
lown in the ideal state which had been its hallmark since the
eginning of Egyptian art.
acing. Colour plates l-o,, left to right, top to bottom.
Electrum sphinx on column inlaid with stones and faience from El
urru. H. 9 cm., 24.972. Boston Museum Egyptian Expedition.
Gold head of a goddess mounted on a crystal orb from El Kurru. H.
3 cm., 21.321. Boston Museum Egyptian Expedition.
The Boston Green Head. H. 10.5 cm., 04.1749. Henry L. Pierce Fund.
Yellow faience pectoral originally inlaid with other colours, said to be
om Mendes. H. 9 cm., 64.2179. Egyptian Curator's Fund.
Gold vulture's head perhaps from the diadem of a queen or princess.
. 2.2 cm. From the collection of Horace L. Mayer.
Gold ring with lapis lazuli scarab inscribed by Sheshonk HI. D. of ring,
cm. From the collection of Horace L. Mayer.
Gold ring inscribed with the name of the goddess Mut. L. of bezel,
2 cm. From the collection of Horace L. Mayer.
j Gold necklace with floral and vase pendants. L. 13.7 cm. From the
ill ■ction of Horace L. Mayer.
Mosaic glass plaque with Apis bull before offering table. L. 2.8 cm.
•oin the collection of Horace L. Mayer.
8. Portrait head of a wooden statuette, said to be from Hcrmopolis. H. of
head, 5 cm., 65.930. Edwin E.Jack Fund.
9. Dioritic basalt head of a man wearing a lotus-bud diadem. H. 30 cm.,
64.1468. Egyptian Curator's Fund.
Many smaller objects from the Late Period are evidence of a
multiplicity of crafts operating on a scale hardly paralleled before.
Much of this energy was devoted to the funerary arts, and the
museums are full of the period's mummy cases, vignette-decorat-
ed Books of the Dead, funerary jewellery, amulets, bronzes and
the like. By far the majority of this material reflects the mass
production of factory work, but sometimes the highest standard
of quality is found. Too little study has been made of the glazes of
the Late Period and we cannot be specific about the date of the
magnificent yellow faience pectoral in colour plate 4, formerly
in the MacGregor Collection. Yellow faience is not known before
the reign of Amenhotep III and during the late [8th Dynasty it
has a slightly lemon-like quality. Ramesside yellow faience
tends to be harsh, while the later material has a clearer tone. At all
times it is a rarely used colour. An apparently 26th Dynasty
amulet from Giza has a colour similar to that of colour plate 4.
which may at least suggest an approximate date of the example
here. The ancient solar deity, the falcon god Horns (or one of 1 is
forms), is shown with four wings and the sun-disc. Minute tr; es
of blue inlay were observed in one of the deep cut-outs. From the
1 2 1
io. Detail from a limestone relief showing a
portrait of the deceased. H. of figure 26 cm.,
49.5. Otis Norcross Fund.
II. Turquoise faience amulets of Africanized
Egyptian deities from Meroe. H. of largest, c.
7 cm. Boston Museum Egyptian Expedition.
12. White and grey-blue faience Thucris,
goddess of childbirth. H. 17.7 cm., 64.2252. Gift
of Horace L. Maver.
royal cemetery at Meroe come the weird amulets (f. 7th Century
15. C.) in No. 1 1 which, with their Egyptian iconographic origin
augmented by African devices, remind us of the similarly Egyp-
tianizing material from Kerma of the late Middle Kingdom (sec
The Connoisseur, August, iy68). Particularly popular because she
was the goddess of childbirth, Thucris (eg. Ta-wcret) was re-
presented as a standing female hippopotamus with pendant
breasts. The faience Thucris (No. 12) is a gift of the late Horace
Mayer. The body is creamy w hite; the head now grey-bluc, but
originally probably bright blue. Its open jaws, rarely represented
in Egyptian animal art, may indicate that it is to be dated to the
Persian 27th Dynasty, w hen a series of lions with open jaws were
made.
The vast numbers of Egyptian bronzes belong to the Late
Period and are the classic example of the banal in Egyptian art.
Made by the thousands in moulds with no character, they are
found by the scores, if not hundreds, in every collection. We at
Boston are fortunate to have two or three of the great bronzes
from Egypt. One of these is the Apis bull 111 No. [3, an almost
unique piece in terms of size and magnificent quality of the sculp-
ture'. I his is one of the great masterpieces of Egyptian animal
sculpture. Perhaps most familiar to the layman, and particularly
associated in his mind with ancient Egypt, is the cat goddess
Bastet of Bubastis in the Delta. One of the most beautiful
representations of her is the bronze cat which sits on top of a
papyrus column (No. 14). I he piece must have been a cult object
from the furnishings of a temple. The smoothly modulated
planes and sinuous line of the profile express the epitome of feline
grace.
After the magnificent gold jewel of the Ramcssidc period
(illustrated on the cover of The Connoisseur, September, 1968),
tin most sple ndid objec ts in the collection of the- late I loracc
Mayer are several gold and glass jewels which include those
shown in colour plates 5-9. Of these, the solid gold vulture's
head (weight, 23.1 grams) is by tar the most gorgeous piei
(colour plate s). Strangely enough, although its great elegain
and refinement of detail might suggest a date in perhaps the lat
[8th Dynasty, the vulture belongs actually to the Ptolcma,
period. Several details of the decoration, including the remarl
able whorl on its check (an iconographic device found occasioi
ally on Egyptian animals in the 12th and [8th Dynasties), a
paralleled on a votive tablet or sculptor's model of a falcon
relief in the Kunsthistorisches Museum, Vienna. The piece mig
have formed part of the decoration of a goddess's statue; mut
more likely is that it comes from the diadem of a princess
queen. The jew el is said to have been found at Medinct Gurc-
near the Fayum. Another jewel of the highest quality is tl
splendid gold ring, set w ith a lapis lazuli scarab inscribed by Kii
Sheshonk III of the 22nd Dynasty (823-772 B.C.) (colour pla.
6). A single, heavy gold wire was passed through the ends of tl
ring and into the scarab. The w ire was then wound tightly ji'
below the knobs at the ends of the ring. This is a not unknov
type of Egyptian ring, but few it any were made with a great
luxury. Bubastis (Zagazig) in the 1 Vita is said to be the orig:
ot the ring.
A simpler form of ring is the one shown in colour plate
The bezel takes the form ot the renal cartouche but the inscri;
tion states simply that the goddess Mut the vulture deity
Buto is the mistress of the geuls and of heaven. As a type it is
no w ay exceptional, but the luxury of its material and the beau
of its workmanship make the ring a rare object. After the vulture
head the most notable piece in this group is the remarkable ncc
lac e in colour plate 8. I he splendid elements include granule
ed barrel-beads, pomegranates, flow er blossoms and two-handli
jars of amphora shape. The floral pendants, evidently derivi
from the lotus, are, so tar as I know, unparalleled. I he nearesi
have come to a similar design is a Saite relief in the Clcvelai
Museum; a relief which, 111 an archaising style, imitates work
[22
;3. Bronze Apis bull. L. 21.2 cm., 59.339- Fred-
rick Brown Fund.
4. Bronze cat on a papyrus column. Total H.
8.3 cm., 52.1026. Martha A. Willcomb Fund.
'5. Granite statue of King Haker. H. I m. II
'm., 29.732. Maria Antoinette Evans Fund.
jhe 18th Dynasty. A king wears a broad collar with floral pen-
1 lants, the profiles of which approach those of the gold necklace,
put footed two-handled amphorae of the form used here are far
norc Greek than Egyptian in type. In publishing this object in
962 I had hoped that some similar object might ultimately turn
p. Nothing like the necklace has appeared and I am as uncertain
bout its date
111 >\v as
I was then. The extraord
mar \ 1
uality of the
•iece deserves a more precise determination of its date and place in
ic history of Egyptian art. Perhaps its re-publication again now
»rill lead to an answer to these problems.
Colour plate 9 illustrates a superior example of that class of
bject called mosaic glass plaques. These small pieces were made
'y arranging rods of glass together in the pattern desired. The
;ods were then fused and the mass pulled to reduce it to the re-
aired size. Slices were then cut as desired. This remarkable
-chnique was used especially from about 50 B.C. to 50 A.D.,
(though a few earlier examples are known. The plaque shown
I ere has an Apis bull standing before an offering stand which
holds a minute bunch of grapes. The quality ot the work in this
example is extraordinary.
Briefly during the earlier two-thirds ot the Fourth Century,
Egypt shook oft for the last time the domination ot foreigners.
In 341 the Persians once again conquered the country and finally
in 332 Alexander brought Egypt into the Hellenistic orbit.
During this period occurred the brief reign ot a king named
Haker (392-3 (So B.C.). This ephemeral ruler, who perhaps held
control of only part ot the country, had at his command one ot the
great sculptors ot ancient Egypt (No. 1 s). Here is expressed all the
dignity and majesty which we have seen trom the 4th Dynasty
onward, and it was not lessened even now when Egypt w as on its
last leg as an independent kingdom. The grandeur ot the Pyramid
Age has been leavened by some of the movements we have seen
working on ancient traditions. But the full breasts and muscled
arms have the strength of powerful youth. Between the \ 1
Statue of Mycerinus and the torso ot Haker, Egyptian sculpt re
has come full circle. Coin ln '.
'-3
A concise guide to Savannah
furniture and cabinetmakers
CHARLTON M. THEUS
TWO early cabinetmakers of Savannah, Georgia, were born
in England within a year of each other, emigrated to Savan-
nah and married sisters there.
These two, Isaac Fell and Gabriel Leaver, left a mark of their
esteem in the record of Savannah history. One of the few articles
of Savannah-made furniture that can be attributed to an indivi-
dual is a mahogany tilt-top table (No. i) in the possession of J.
Ferris Cann, 111, which has descended to him from his great-
great grandfather, Isaac Fell, cabinetmaker. This table must have
been made shortly before Fell died in Savannah in 1 8 1 X . It is
mahogany throughout, m the Sheraton style with a ringed
pedestal on a tripod base.
Fell was advertising as early as 1789, tor on December 10, 1789,
he advertised the following in the The Georgia Gazette:
^ Isaac Fell
Cabinetmaker and Upholsterer Begs leave to acquaint the
publick in general, that he carries on the above business, in its
different branches, at his new shop 111 Broughton street, next
door to Mrs. Clarendon's, w here all kinds of Cabinet and Up-
holsterer's work will be done in the most fashionable, elegant
and masterly manner, at the shortest notice, and on the most
reasonable terms. He returns his grateful thanks to those who
have hitherto employed him, and hopes tor the continuance of
their favors. No exertions shall be wanting in him to give
general satisfaction. He has just received a supply of the best
mahogany and other materials.
Fell was born 111 Lancaster, England, the son of William Fell
and Isabella Lambert fell, on April 6, 1758. He emigrated to
Savannah about 1774 and when hostilities w ith England began he
was inducted into the Continental army ot Georgia. He was
stationed at the Spring Hill Redoubt 111 Savannah when the
British laid siege to the city in 1779. In this conflict he lost an
arm, was captured, placed aboard a ship ,md taken to England.
Later he was returned to Savannah where he was placed in con-
finement at the [ackson Spring prisons with other American
soldiers until the end ot the war. He married Elizabeth Susannah
Shick in Christ Church, Savannah, on February 3, [785. During
the War of 1X12 he served as a Lieutenant ami died 111 Savannah
on April 23, 181 S, at the age ot 59.
( labricl Leaver w as one ot the most prominent ot the Savannah
cabinetmakers. Quoting from A History of Savannah Methodism
from John Wesley to Silas Johnson by Haygood S. Bowden: 'The
cabinetmaker w ho befriended Hope I lull 111 17S8 was a well-to-
do citizen, Mason, a [cw and a Christian. He owned a large
plantation three miles west of Savannah, lived 111 a house next
door to Mordccai Shcftall on Broughton Street am! rented
houses in Ewcnsburg opposite Mr. Rupert's. I le kept two appren-
tices 111 his cabinet shop. His tomb is in the backyard of the Old
Marshall place, the Northwest corner of West Broad and Ogle-
thorpe Avenue. Cut on the huge slab of brown granite 111 ancient
letters may be read the following inscription: "Beneath this stone
lies the interred body ot Gabriel Leaver, late of this city, j
cabinetmaker. He bore a long and painful illness with fortitud
and departed this life with Christian resignation, on the 22n>'
day of October, A.D. r 705. Anno Mundi, 5795, aged 38 yean
He lived an honest and upright man and died lamented . . ."
The Georgia Gazette of October 29, 1795, reported: 'Thursda'
last died in this city, Mr. Gabriel Leaver, cabinetmaker. He was
kind husband, an affectionate parent, indulgent master and bene
volent friend." He was born in London on October 22, 175*
emigrated to Savannah and was married there, about 1782, t"
Mary Shick, sister to Elizabeth Susannah Shick Fell. He wz
listed several times as a witness and executor of Wills. On Febru
ary 19, 178s, he received his citizenship, signed by Joseph Haber
sham.
I. Mahogany tilt-top tabic made by Isaac Fell, r. Collection J. Ferr^
Cann, III.
124
On September 25, 1788, Leaver advertised his house for rent.
It was next door to Mordecai Sheftall at the corner of Broughton
Street. Mrs. Dianna Masscy rented property from Leaver and
many receipts for rent of this property have been found. There
ilso exists a receipt for making a cedar coffin for Dianna Massey
n 1794, for the sum of five pounds and ten shillings.
It is probable that Leaver made some of the fine furniture in
Savannah in the last quarter of the eighteenth century. It has been
ronsidered that he may have made the Chippendale-style tables
No. 2) that belonged originally to Edward Telfair (173 5-1 807),
vvho was a Revolutionary patriot and twice Governor of Georgia.
These tables, a drop leaf centre of a banquet table, pembroke
cable, serpentine card table and several side tables show a si mi lai -
ty of workmanship that leads one to believe they were made by
;he same local cabinetmaker. They are made of mahogany with
,econdary woods of southern pine and cypress. The inventory
if his estate lists 'mahogany for three tables, a lot of chair wood,
iundry cedar wood, pine and cypress boards, stuff tor two pem-
)roke tables . . .' which gives an idea of the woods he used and
Jome types of furniture he was making at the time he died.
The inventory in its entirety reads: 'Appraisement of the
Estate of Gabriel Leaver deceased as shown to us by Mary Leaver
administratrix & John Shick coadministrator this 12th day of
Vlay 1796: A Sopha (25 dollars), a Mahogany table (i s), a Maho-
gany (?) glass ware (45), a Mahogany — Desk Cv Bookcase (40),
1 round Tea Table (8), a Square Tea do. & one ditto (14), a Set
Tea China &: Tray (f>), a tea Tray & a Sugar Box (2), a Lott China
I, Mahogany Chippendale card table, c. 1780, originally in possession of
Sdward Telfair (1735-1807). Telfair Academy of Arts and Sciences.
Ware (10), 2 looking glasses (10), a Knife case, a Tea Chest (4),
6 (apancd Waiters (1. 50 cents), a Clock (30), 2 dozen Pictures
(6), an Easy chair &: 2 Setting Do. (14), a Chest Drawers (?) top
(18), a Bedstead & Bedding (18), a pr. Fire dogs, Shovel & tongs
& bellows (4), a remnant Tacking & Oznaburgs (6), a small stand
(75 cents), mahogany for three Tables (6), 1 Mahogany & 1
Cedar Case & one trunk (7.50 cents), a Carpet to (?) a Bedstead
(?) (19), 2 Close stool Pewter Pans (3), a parcel Plate (26), a Bed &
Beadstcad (6), 2 Feather Beds & Blankets cV Pillows (20), a trunk
Bed Furniture (6), 2 Empty Trunks (25 cents), a lot Window
Glass (3), a Gun &. a Pistol (2), a Bed Pan (1. 50 cents), a Quilting
frame (1), a Piano Forty & Harpsichord (9), a Lot Iron Pots & a
Dutchoven & 2 copper Kettles (6), a pair Fire Dogs, Trammels,
Gridirons, & frying Pan, tongs & 2 Fire Backs (7), a Lot Crockery
Pewter, Coffee Pots, Scives, etc. cv etc. (5), a lot Candle moulds,
smoothing Irons, scales &. weights & coffee Mill (7), a Saddle &
Bridle (4), 3 Kitchen Tables (1. so cents), 3 Whip Saws &' 2 x
cut do. (8), a Corn Mill (3), a lot Chalk (3), a quantity of Nails (10),
a lot Wedges &: adses (3), a lot jugs, Paint &.' Lampblack (1. 50
cents), a lot Chair Wood (12), sundry Cedar Boards (1. 50 cents),
sundry Boards & pieces mahogany (18), a Coal Scuttle (75 cents),
a lot cedar, Pine & Cypress Boards (3), a Riding Chair & harness
(30), a Grind stone (2), a lot Tools & Chest (10), a lot Benches (8),
2 Vices-a Cramp e\ (?) glue pot (8), stuff for two Pembroke tables
(3), an Easy Chair unstufted c\ Stuff for another (1. so cents),
2 Skeleton Sophas (10), 3 Goats 7 (?) (7), a lot Soap, tacks etc. (3),
a Horse (20), a lot alspice (1. so cents), 2 Window Curtains (1),
a lot Poultry (1. 25 cents), a Lot Irish Linen (3), a Lot Empty
Barrels, Baskets, etc. (1). Dollars: 595 . 00
We do certify that at the request & agreeable to the Warrant of
Appraisement given us by Mrs. Leaver, administrix & Mr. John
Shick administrator on the Estate and effects of Gabl. Leaver
deceased w e appraised the above property as shown to us amount-
ing to Five hundred & Ninety five dollars as witness our hand
this 1 2th day of May 1 796.
John Anderson
Thomas Pitt
George Leaver'.
Inventories provide an accurate record of goods owned by
specific persons and known to have been in existence at a specific
time. The Savannah inventories give a partial picture of how the
local houses were furnished. An inventory of 1783 lists mahogany
beds, mahogany chairs, Windsor chairs, chests of drawers,
secretary bookcase, commodes, looking glasses, dining tables,
pair card tables, tea table, breakfast table, backgammon table,
desks, pavillions, tea chest, writing desk and couches.
This is an important assortment of furniture. As it is dated so
soon after the departure of the British from Savannah in 1782, the
furniture surely must have been acquired before the Revolution;
An Inventory and Appraisal of the estate of Mrs. Ann Parker,
Isle of Hope, near Savannah, dated September 20, 1784, records
bed and bedstead, small dressing table, a bedstead, maple desk and
red bay oval dining table, red bay breakfast table, two common
tables, and field bedstead. These are much simpler furnishings
than the aforementioned inventory of 1783. The small plantation
house built on property on the bluff at Isle of Hope was, under-
standably, not equipped with the more sophisticated furniture
often found in the town houses. It is interesting to note here that
the three red bay articles were probably made from wood cut on
the plantation, since at the time this land was fust occupied in
1734 by the Parkers, the red bay tree grew profusely and in la
sizes.
125
3. Mahogany Queen Anne drop-leaf table, c. 1765. Collection Mrs. B.
Barnwell Cubbedge.
4. Mahogany Queen Anne dressing table, r. 1760. Telfair Academy of Arts
•ind Sciences.
■
The Inventory and Appraisal of the Estate of George Basil
Spencer of [line 28, 1791, m.ulc bv Missis. Thomas Life, |ohn
I lamilton, and William Moore, reads .is follows: Mahogany desk
and bookcase, Mahogany dining table, Mahogany breakfast
table, Mahogany china table, Mahogany waiter. Mahogany tea
chest, 4 fapancd waiters c\ tea bottle, a pair of pictures, 6 Windsor
chairs, 5 arm chairs, Pair fire dogs, shovel i\ tongs, A lot of china,
crockcrywarc, glass, ami one [apaned waiter, Mahogany bed-
stead, Bed and bedding, Black walnut desk cV pine painted book-
case, Sundry books, Mahogany dressing table, Mahogany dress-
ing glass, Mahogany bedstead, Bed, Bedding, and Mattress,
Mahogany chest of drawers, Mahogany bedstead, Mahogany
bedstead, Bed and Bedding, Mahogany dressing table, Maho-
gany chest of drawers, Mahogany dressing glass, Pair of fire
dogs, shovel and tongs, Painted pine chest and window curtains,
Mahogany bedstead, Mahogany close stool chair, Some window
curtains, Mahogany bedstead, Bedding, Mahogany chest of!
drawers, Mahogany dressing glass, Six Windsor Chairs, and
various other items including a fine lot of silver.
As is evidenced by this fine collection of furnishings, Savan-
nah, by this time, appeared to be enjoying a high degree of pros-
perity.
In another inventory, of 1 791, quantities of mahogany furni-
ture are mentioned, along with three cypress tables.
Special interest, attaches also to the 'Inventory and Appraise-
ment of the Estate and effects of Isaiah Davenport, late of Savan-
nah, Carpenter, deceased in 1X28'. His house is now owned by
and is the headquarters ot Historic Savannah, Inc. Apart from
various parcels ot real estate and slaves, the Isaiah Davenport!
inventory reads as follows: 2 mahogany bedsteads, 1 mahogany
bureau and glass, bed and window curtains, 1 mahogany bed-
stead, 6 plain black chairs, 2 painted pine toilette tables, 1 pail,
glass shades, 1 mahogany sideboard, 1 mahogany sideboard, 1 set
dining tables, 1 settee and dozen chairs, 1 map United States
2 pair candlesticks, 1 mahogany tea table, 1 pr. andirons, shove
and tongs, etc., 12 silver table spoons, 1 ladle, 12 tea spoons:
1 pair sugar tongs. 1 fine china tea set, 4 doz. cut «!\ plain wind
glasses, 2 doz. cut &. plain tumblers, 4 blue fruit dishes, 2 doz. fruil
places, 1 set ivory handle knives forks, 52 pieces, 1 par
decanter slides, 1 doz. buckhorn knifes <.\ forks, 1 soft &.' tea
table, 1 candlestand &. washstand, 1 doz. bamboo & rush chairs
t entry lamp <S. 4 flower pots, 3 prints, 1 secretary, bookcase $
books, 1 mahoganv bedstead, 1 entry carpet c\ 3 pine tables
1 table set Liverpool ware, 1 pine counting house desk safe
1 pr. fircdogs cV 1 desk, Kitchen furniture, 2 pr. decanters & \
high chair, broken set castors etc. etc., 1 gold watch chain & seal1
2 pr. brass candlesticks & snuffers, 1 mahogany cradle & map]
crib, 1 mahogany bed chair.
Note all personal effects sold at auction for $427.50.
No labelled pieces of furniture have been found to aid ii|
attributing furniture to Savannah. It is necessary, therefore, t<
seek other ways to identify Savannah-made furniture. Variou
records show that over fifty cabinetmakers, chairmakers an>
other furniture craftsmen were working in Savannah from th
middle of the eighteenth century until about the middle of thj
nineteenth.
The identification of a piece of furniture made in Savannah |
based mainly on the woods of w hich it is made. The woods mo;
often mentioned in contemporary diaries, inventories and ship
ping records are red bay, laurel bay or magnolia, southern pine
cypress, mahogany, occasionally cedar or other local wood sue
as pecan. When an article of furniture is constructed of thes
woods, it is safe to assume that it probably was made locally.
Red bay (Persea bobonia) grew along the coast from South-caJ1
Virginia through Florida. This is a fine grained wood and exj
cellent for cabinetmaking, takes on a lovely polish, and ha.
beautiful wood rays. It compares favourably with mahogany
At the time of the settlement of Savannah, the trees were growint |
in quantity and in large sizes near streams and in swamps alonj
this coastal area. They were growing in sufficient abundance t(
be shipped out. On March 7, 1766, in the Brig 'I lappy Recovery]!
360 boards and planks were bound to (iosport, I lampshirt
England, from Savannah. Also about this time 71 red bay plank
w ere sent to Liverpool.
126
Mahogany is mentioned more often than any other wood.
Quantities of mahogany were being shipped to the port of
Savannah. Because of the easy facilities for shipping it from the
West Indies, it proved an inexpensive wood and consequently
was used more than any other wood by the local cabinetmakeis.
It took less than a month to reach the port of Savannah from
Jamaica. Shipping records during 1765-66 and 67 show thousands
of feet of mahogany plank were received in Savannah. It is under-
standable that practically every inventory, no matter how small,
mentions some article of mahogany.
Southern pine, which includes long-leal (Pimts palustris), slash
pine (Pinus Elliotti), and loblolly (Pinus taeda), was used extensive-
ly for the secondary wood in local pieces. These large trees are
found in the coastal plain and sandhill regions. They grow only
as far north as south-eastern Virginia, and when these pines were
used as a secondary wood the piece was probably ot southern
origin. Small schoolmaster type desks, hunt boards, corner cup-
boards (No. 6), wardrobes, chests of drawers, and tables have
been found made entirely of this pine, and undoubtedly made in
this section. Some of these might be termed plantation pieces,
made perhaps by a slave trained as a carpenter with some know-
ledge of cabinetmaking, using the native wood on the place; but
some are more sophisticated and appear to be made by a skilled
craftsman.
Magnolia grandiflora [laurel magnolia) is a large tree found
principally in swamps and along streams from the south-eastern
corner of North Carolina southward near the coast through
Florida and somewhat westward. It is fairly scarce from Charles-
ton northward. This evergreen magnolia was utilized in the
construction of simple furniture for southern planters. It is also
used occasionally as a secondary wood on Savannah-made
pieces.
Cypress (Taxodiuiu distichwii) is a large and important tree of
the coastal swamps throughout the south. Because ot its avail-
ability and for its qualities, it is used as a secondary wood 111
many pieces.
5. Mahogany Queen Anne tea table, r. 1760. Collection Mrs. Eugene Marshall.
6. Southern pine Chippendale corner cupboard, r. 1770. This piece is much
more sophisticated than the usual pine furniture found. Collection Mr*.
Renter V. Lane.
Cedar furniture is occasionally mentioned in inventories. This
is a red cedar [ Jutiipems virginiana) which is common in the Pied-
mont section of the south, but rare in the coastal plain except
near the sea. It is favoured for its delightful perfume, which pre-
vents moth damage, and for this purpose it is found used as sides
and bases of drawers.
Furniture identified as made in Savannah varies from one very
early piece in the style of the seventeenth century to many pieces
that date from 1770 to about 1815 and then skips to items in the
Victorian style. Few pieces ot furniture in the style popular
around 1825 have been ascertained as Savannah made. This was
the period of tremendous imports from the North. As wealth in
Savannah increascxi, it probablv became a status symbol tor the
newly affluent to furnish their homes with these fine articles ot
import rather than to have local cabinetmakers construct • eir
furniture.
127
8. Mahogany inlaid card table in classic style,
I79o-.8oo. Collection Mrs. Raymond M. Demen
9. Mahogany card tabic, c. 1800. Collection Mrs.
Raymond M. Demere.
129
!
10. Mahogany chest of drawers and dressing mirror made by John Wilkens,
c. 1835. Collection Mrs. Eunice Figg.
Another unusual Savannah-made piece is an end table of mag-
nolia veneered on southern pine, which greatly resembles satin-
wood except for the darker streaks. It lias a string inlay of holly
on the lower edge of the frieze and down each side of the slender
tapering legs. There is a dark band of inlay about two inches
above the termination of the legs.
A swell front chest of drawers of mahogan\ has cock beaded
graduated drawers with original oval stippled brass hardware.
There is .1 scalloped apron with splay feet. The sides of each
drawer are southern pine, whereas the bases of the drawers arc
constructed of C) press.
A mahogany chest of drawers with a straight trout has a
detail seen on many local pieces in the Federal style, a wide strip
of reeding down e.u h side. I his piece has two small draw ers over
three long drawers, all with cock beading, and turned legs. I he
drawer sides are of cedar with the runners of southern pine.
Again, a flame mahogany block front sideboard has the same
feature as the chest of drawers referred to above, flat reeding
down each corner along with flat reeding on each side of the
centre block. This is an extremely w ell balanced piece, with three
frieze drawers, double doors in the centre, and doors enclosing
shelves on both sides. The turned legs are encircled by reeding.
Secondary woods are of cypress and southern pine. This is in the
Sheraton style, made c. 1815-20.
A pecan huntboard is most unusual tor the refinement, seldom
seen in locally made pieces, of dust boards. The drawers are of
southern pine and cypress, and the back board of southern pine.
The only other piece seen with dust boards is a mahogany shav-
ing mirror with holly inlay. This piece is in the Sheraton style
and shows more ornate inlay than is usually seen on Savannah-
made pieces.
Two card tables, made around 1 790-1 800, are still in the pos- 1
session of the family in which they descended from — Raymond
M. Demere. A serpentine top card table (No. 8) is of mahogany
with holly inlay in string and lattice form, and with a crude
rendition of the trailing vine and bell flower over the two front
tapering legs. When it is closed, in the centre ot the top is seen a
small oval inlay w ith eagle and shield. It measures open 36 x 35
inches, and is 28 i inches high. The other mahogany card table
(No. 9) has a central veneer design in the frieze. It measures 38^ x
38 inches and is 30 inches high. Both tables have secondary wood j
of southern pine.
There is one large tilt-top table with ringed pedestal base made!
entirely of mahogany, even to all the secondary construction.;
This piece is said to have been made on a nearby plantation and
dates about [815.
Only one linen press in mahogany is known to exist. This hast
double doors in the top section, with a lower section of two small
drawers over two long drawers, all placed on bracket feet. The
doors and drawers are decorated with string inlay ot holly. All
secondary wood is cypress.
The pieces described above are. in short, fairly typical ot the
furniture made in Savannah prior to 1825.
Furniture 111 the Federal style is usually, it inlaid, kept simple,*
w ith an occasional line or checker inlay, rarely large expanses of(
inlay or carving. Sideboards and chests ot drawers are often
found in the Sheraton style with flat reeding down each side.
Very little Savannah-made furniture in the late Federal or
Empire style has been located. The large quantities ot imports^
into Savannah in this period were from New York, Philadelphia,
and Baltimore. However, since the publication ot my book, i
Savannah Furniture iy}$~l82^,'m April, 1967, there has developed
more aw areness of Savannah-made furniture, with the result that '
tw o additional cabinetmakers and actual furniture they made have
come to light. This furniture is in the Empire and early Victorian
styles. Most of it is of mahogany but there is one small oval drop
leaf table of walnut. Contrary to the earlier pieces with secondary '
wood of southern pine or cypress, these pieces have secondary 1
woods of red bay, chestnut, gum, poplar and white pine. The use
of white pine was explained by a descendant of the cabinetmaker
and undertaker, Thomas Henderson. Caskets were shipped in
white pine boxes, which were finished on the inside and were
consequently used in construction of furniture. I here is a mahog-
any secretary, made by him, veneered on white pine. It has a
flap lid over three drawers, with glass panes in the upper section
leaded together. I he measurements are 39 inches wide, 19
inches deep at the wider lower section and 70 inches high, and in
the style of the 1840s. An account book of I bonus Henderson
elated 1857-66 is extant and reveals the enormous amount of
furniture he was making and repairing for all the prominent
Savannah citizens.
1 3c
11. Mahogany wash-stand, made by John Wilkens, c. 1840. Collection D. fVilkie Rjhey.
12. W alnut drop-leaf table, made by John Wilkens, r. 1845. Collection D. Wilkie Rabey.
Several articles of furniture that were made by [ohn Wilkens,
who was born in adjoining Effingham County, March 20, 1808,
are in the possession of his descendants. All of this furniture is
made with great care and neatness. One mahogany chest ot
drawers (No. 10) is veneered on mahogany with large hand-
hewn southern pine blocks inset in the rear bracket feet for
added support. The dressing mirror that accompanies this chest
has red bay as a secondary wood. The tables made by him in
most instances have ringed turned legs (Nos. 11 & 12) but one has
more ambitious rope and acanthus carved legs (No. 13). He made
his own tools from persimmon and inset metal which he had
ordered from Sheffield, England. They are handsome enough to
be used as ornaments.
Who were others of these Savannah cabinetmakers? The
names of over fifty have been recorded as working here before
1845. As there were no Savannah City Directories until 1850
these names had to be gleaned from study of old newspapers,
mortuary records, lists of early settlers, and other historical
documents. Several came over with the early settlers, but few-
survived long. However, there was a James Anderson, joyner,
and a John Anderson, cabinetmaker, who came over with the
early settlers, lived to practice their trade and left descendants
who practised cabinetmaking and chairmaking in 1797.
Quite a bit of information has been found concerning a chair-
maker, Simon Connor. Apparently he repaired a chair for a Mrs.
Dianna Massey on May 8, 1792; and by July 5, since he had not
received payment, he addressed himself to Mrs. Massey: 'Mrs.
Diannah . . . the repairs that is done to your chair came to one
pound 19 shillings, sooner than I shall keep you from the use of
the chair, if you will send me S7.00 I will give you a receipt in
full, if not I shall hire it or charge storage which is half dollar per
week since 1 sent you the bill, which is as little as I can do for the
interest of the money. I am your most able Simon Connor." On
August 17, 1798, he advertised in The Columbian Museum and
Savannah Advertiser: 'Ranaway from the subscriber on the 6th of
August, 1798, a French lad, about 173 years old, speaks very good
English, his name is Peter Larasot in English and in French
Sherry, he walks very stooped and clowinish. he is very apt in
speaking, and willing to tell a lie, he will not take anything that
is too hot or too heavy. I do forwarn all masters of vessels from
harboring him or taking him away, as they may depend on
being persecuted according to law. A reward of Si 0.00 will be
given by the publisher. Simon Connor.'
Benjaminc Ansley was practising cabinetmaking in Savannah
during the years 1802 through 1804 and perhaps over a longer
period. Receipted bills have been found fromjosiah Tatnall, Esq.,
deceased to Benjamme Ansley. Dated fune and August 1802, is
listed: 'for mahogany coffin for child. Si 6.00, a wardrobe,
S25.00, inlaid table, Si 8.00, 2 square bason stands, Si 2.00, and 1
sofa, S30.00.' It was not until September, 180s. that he received
payment for this amount. It is interesting that the cabinetmaker
Isaac Fell named his ninth child, born August 20, 1803, in
Savannah, Benjaminc Ansley Fell.
Stephen Blount, a chairmaker, came to Savannah from B au-
fort, S.C. and was a captain of Militia. He died September 16,
1804, leaving an inventory of goods which amounted to,
131
15. Mahogans wash-stand made h\ John M ilkens. .'. 1S35. ("clltclicn D.
U'ilkit Rihty.
10.999.00 dollars, a sizeable estate containing fine articles of.
furniture and silver.
Frederick Densler. another chairmaker. who lived from 1776- •
1849. advertised frequently. One ot his earliest advertisements in
the paper ot November 23. 1802. read: "Chair Making Business.
Fred k Densler informs his friends and the public that he has com-
menced the above business on Mr. lohn Glass's Lot. near the
court house, where the strictest attention will be paid to such as
favor him with their custom.
Below is a list ot cabinetmakers and chairmakers working in
Savannah until the middle ot the nineteenth century :
Adams. John. Cabinetmaker working 1807
Anderson. James. Jovner
b.
1710
d.
Anderson. James II. Chairmaker
1797
Anderson. John
\\
1738
Anderson. John II. Cabinetmaker
\\
1797
Andrews. Will, Cabinetmaker
w
c 173
4
Ansley. Benjamine. Cabinetmaker
w
1804
Bailey, Richard. Carpenter and Joiner
w
1750
Blount. Stephen. Chairmaker
b.
1761
d.
1804
Brown. Nathaniel. W indsor chairmaker
b.
1777
a.
1803
Bruner. Jo. Jovner
1 "33
Coates. Jo. Turner
d.
1739
Connor. Simon. Chairmaker
[-86
Cook. Elijia. Cabinetmaker
b.
1 "95
d.
[817
Cooper. John. Chairmaker
b.
1 -63
d.
1808
Davant. John. Calnnetmaker
w
1733
Davison. Samuel. Chairmaker
w
1736
D'Lamater. Abraham. Cabinetmaker
b.
1803
a.
[827
Densler. Frederick. Chairmaker
b.
[—6
d.
1849
Faris. O. G.. Cabinetmaker
w
1S23
Farley. John. Cabinetmaker
d.
i-8i
Fell. Isaac. Cabinetmaker
b.
[759
d.
1818
Fox. W alter. Turner
b.
1697
d.
1741
Gardner. Daniel. Carver and Gilder
w
1 -98
Guild. Nathaniel. Cabinetmaker
b.
[778
d.
1805
Harrison. Caleb. Chairmaker
w
1810
Henderson. Thomas. Cabinetmaker
b.
1818
d.
1889
Hewitt. John. Cabinetmaker
1801
Hodgins. Martin. Cabinetmaker
b.
1—9
d.
1814
Hunt. Clifford. Chairmaker
b.
1785
J.
1810
Leaver. Gabriel. Cabinetmaker
b.
1757
d.
1795
Lon£. Melchor. Cabinetmaker
d.
1774
Lowrv. John. Chairmaker
d.
1796
Meano. Peter A.. Cabinetmaker
b.
1787
d.
1817
Meeks. Joseph. Catunetmaker
[-08
Miller. Peter. Cabinetmaker
b.
1765
d.
1810
Montague. Richard. Joiner
b.
1-94
d.
1819
Moore. Roliert. Cabinetmaker
w
1 -40
Morrell. I. W.. Cabinetmaker
w
1825
d.
1865
Nichols. Moses. Windsor Chairmaker
\\
1800
Page. Thomas. Cabinetmaker
b.
1782
d.
i 828
Parker. George. Chairmaker
b.
l-y-
d.
1820
Peck. James. Coach- and Chairmaker
b.
1783
d.
1812
Readmond. Jeremiah. Cabinetmaker
b.
1802
d.
1820
Robilliard. Francis. Turner
b.
1766
d.
1806
Rodes. Andrew. Jr.. Cabinetmaker
\s
c. 1805
Stewart. Samuel. Turner
b.
1789
d.
1820
Stow. George. Cabinetmaker
b.
1800
d.
1827
Strange. Owen. Cabinetmaker
b.
1776
d.
1*U
Theiss. W.. Chairmaker
b.
1795
d.
[827
Wandell. A.. L'pholsterer and
Paperhanger
1801
\\ ilkens. John. Cabinetmaker
b.
1808
The American way with art
JOSEPH T. BUTLER, American Editor of The Connoisseur
African Tribal Images
FROM the tenth of this month through the
end of November, a private collection of 2X0
objects of African art has been on exhibition at
the University of Pennsylvania Museum in
Philadelphia. The collection was assembled by
Mrs. Katherine White Res wick who acquired
her first piece of African art just nineteen years
ago — a Bakongo witch-doctor's whistle. Sixty
different tribal groups are represented and the
objects date from the sixteenth century through
to contemporary works, with the vast majority
dating from around the turn ot this century. It
should be noted, however, that the traditional
element in African sculpture is disappearing at a
rapid rate.
Mrs. Reswick collected objects which are
first of all beautiful. It is artistic merit rather than
anthropological concern which has motivated
this collector. Some of the pieces are great
I. Belt mask, Benin kingdom, ivory, early 16th
century. The Katherine White Reswick Collection.
masterpieces and others are quite deliberately
not; this has been another aim of the collector.
Dance masks make up the most widely re-
presented type of sculpture in the show and
there is also a sizeable number of portrait figures
which often served as the dwelling place for
spirits of ancestors. Also included are jewellery,
textiles, dolls, decorated boxes, utensils, stools,
pipes, ceremonial axes, staffs, musical instru-
ments, and divining implements.
A catalogue bearing the same name as the ex-
hibition, African Tribal Images, has been pre-
pared by William Fagg, Deputy Keeper of
African Collections in the Department of Eth-
nology at The British Museum. In this excellent
catalogue the collection is completely docu-
mented and located by tribe geographically. The
exhibition was seen earlier in the year at The
Cleveland (Ohio) Museum of Art.
Romantic Art in Britain
EARLIER in the year this monumental exhibi-
tion was seen at The Detroit (Michigan) In-
stitute of Arts and Philadelphia (Pennsylvania)
Museum of Art. And monumental is the word
which characterizes this show' of 235 paintings
and drawings spanning the years 1760-1860. For
many years British art of this period has been
treated in a peripheral manner and now, through
the visual impact of these pictures, it can take its
place among the important periods in art his-
tory. It is interesting to note that this was the
first exhibition held in this country which
attempted to show the entire span of English
romanticism : in richness and importance of
holdings, the United States ranks second to
England. Therefore, the exhibition had a kind of
twofold purpose — tirst, to cover thoroughly
what was probably Great Britain's greatest
period ot pictorial creativity and second, to
show the importance ot American holdings in
the field.
While the exhibition was awe-inspiring, it is
permanently recorded in a catalogue which is of
equal quality and importance. It leads off with
three important essays. 'British Art and the Con-
tinent, 1760-1860' by Robert Rosenblum,
"Romanticism in Britain. 1 760-1 S60' by Freder-
ick Cummings. and 'British Landscape Painting,
1 760-1X60' by Allen Staley. The essays provide
a splendid background for the Catalogue which
follows. This, done by Messrs. Cummings and
Staley, contains elaborate descriptions which
make the connection between the pictures and
the romantic movement. As a matter of fact,
this exhibition provides a clear and intuitive
view into the essence and meaning ot roman-
ticism: a movement which is often misunder-
stood.
It is impossible to list the names of the sa
painters who are represented but a sampling
might include Sir Joshua Reynolds, Thomas
Gainsborough. John Singleton Copley. Ben-
jamin West. John Henry Fuseli, John Flaxman,
James Gillray, Thomas Rowlandson, William
Blake. Sir Thomas Lawrence. George Chinnery.
lohn Constable. Richard Parkes Bonington, Sir
Edward Landseer, Edward Lear, John Ruskin,
William Holman Hunt, Dante Gabriel Rossetti,
and Sir John Everett Millais. This is, of course, a
sampling of some of the more familiar names
but it is interesting to note that in some of the
works ot lesser names, which were so well
chosen, the spirit of romanticism is sometimes
best seen.
2. Male Figure, Gaboon, Fang tribes, wcoil. The
Katherine White Reswick Collection.
133
3. Sir Thomas Lawivncc. Arllmr Atherley as an Etonian, oil on canvas,
f. 1790-91. Los Angeles County Museum of Art, the William Randolph
Hearst Collection.
4. William Blake. Queen Katherine's Dream, watcrcolonr, 1807. National
Gallery of Art, Rosenwald Collection.
Dada, Surrealism, and their Heritage
I I US month and until early I )ccember, The Art
Institute of Chicago is showing this large ex-
hibition which is directed by William S. Rubin,
Curator of Painting and Sculpture at The
Museum dI Modern Art. The show opened in
the spring at that museum ami then proceeded
to the Los Angeles 'ountv Museum ol Art be-
fore coming to C Chicago.
Dada was the movement which reacted
against the materialism ol the early twentieth
century and the horrors of World War [.
Surrealism followed in the [920's as .111 out-
growth of I )ada and it was inspired by Freudian
( xplorations ol the unconscious mind.
I his large exhibition (331 works arc shown)
analyses in detail the growth ol I )ada 111 Europe
and in New York ( aty. It then traces Surrealism
from its birth through the influences it made
during the I9i"'s. 40's, and so's. The impact of
both movements on painters and sculptors ol the
iy6o's provides a fascinating conclusion to the
exhibition
Mi. Rubin is the author ol the definitive
catalogue which accompanies the exhibition.
Many years of study ami research have gone into
this volume ami the bibliography is certainly one
ol the most definitive on the subject, which has
been prodlii ed. I he installation at The Museum
ol Modern Art was done with gre.it dramatic
impact. The recreated The Rainy Taxi by
Salvidor Dali was placed in the museum
garden and was one ol the most startling pieces
111 the show even though it first appeared 111 1938
at the International Surrealist Exhibition.
Isamu Noguchi
ISAML' N( X iUt I II was bom 111 Los Angeles,
California, on November 17, 1904. I lis lather
was Japanese and his mother's lather was Scotch-
Irish and her mother part American Indian. This
conflict ol East and West became the great
strength of Noguchi's art. He was taken to
|apan .it the age ol two and studied at Japanese
schools until he was thirteen. I le returned to the
United States 111 [918 and began a complex
period of education from which his tmal deci-
sion was that he must be a sculptor. In 19^7 he
went to Paris to study and had the extraordinary
good luck of meeting Brancusi. Noguchi's own
basic respect foi the inherent qualities ol wood,
stone, and metal was reinforced by this contact.
I le studied in c Ihina and Japan during 193 1 and
1932 and the decorative arts of these countries
had a pronounced influence on his work.
Noguchi was to branch from sculpture in the
I940's when he designed a lamp and a coffee
table winch are still standard tonus, lie has
since contributed architectural studies, bridge
designs, sets lor theatre and dance, lighting, and
garden design. Today, a number ol his monu-
mental sculptures .ire used in gardens and to
adorn buildings. I lis work continues to show
ilic dual influences of Japanese art and the
5. Salvador Dali: I he Invisible Man, oil on can
vas, 1929-33. Private Collection.
'34
1 School of Paris and it is probably this which
gives it so much appeal.
I This year has been important in the recogni-
tion of Noguchi's work. His autobiography was
published and the first retrospective exhibition
I of his work was held at the Whitney Museum of
American Art. The exhibition contained 70
j pieces of sculpture as well as objects from dance
I sets and photographs and showed the tull range
I of his artistic development.
Paul Cadmus — Prints and Drawings
PAUL CADMUS considers himself more rc-
! latcd to artists of the sixteenth and seventeenth
j centuries than to the twentieth. 1 lis highly dis-
ciplined skill and draftsmanship have long made
him a favourite of American art lovers. He is
probably best known tor his sketches and draw-
ings ot the nude figure. His figures appear to
glow on the paper and the tight precision of
drawing is rarely matt lied by any American
artist.
Earlier this year Midtown Galleries, New
York, held a retrospective exhibition ol Cad-
mus' work. Beginning with a drawing done in
1922, the artist's work was surveyed in the
complete manner which it has long deserved. In
connection with this, a catalogue of Cadmus'
work was published by The Brooklyn Museum
with text by Miss Una E. Johnson, that museum's
Curator of Prints and Drawings. The essay in
the Catalogue provides a keen insight into the
purpose ot the artist as well as an objective
analysis ol Ins work.
6. Rene Magrittc. Personal Values, oil on canvas,
1952. Jan-Albert Goris, Brussels.
7. Isamu Noguchi. Integral, Greek marble, 1959.
Whitney Museum of American Art, Gift of the
Friends.
8. Paul Cadmus, Male Nude NM$, crayon on
toned grey paper, 1965. Midtown Galleries, New
York.
135
The Connoisseur Index to Advertisers
Acquavella Galleries III
Adams. Ltd. Norman Inside back cover
Adelson Galleries LXXX
Alavoine XXXI
Aldus Books Ltd. I is
Andrade. R. & M. LVIII
Antique Company ot New York. Inc. The
Inside front cover
Antique Hypermarket, The LXV
Arpad Antiques XCYIII
Asian Gallery LXXXVIII
Asprey&Co. LXM. LXV 1 1
B.A.D.A.
Barling of Mount Street
Beauchamp Galleries
Berry-Hill Galleries
Beshar's
Bic^s ot Maidenhead
Black Gallery, Bernard
Blau. \'ojtech
Bodley Head. The
Bohler, Julius
Box No. 7435
Brod Gallery
Brooke. Rodney
Brown. Peter Mack
Burge, C. P.
Button. W. Russell
Butt's of Chester
XXXVI
XVII
XL VIII
XIV
XCYIII
XXX11
LXXX1
XCII
LXIV
XX
LXXIV
VI
LXVIII, LXIX
LIV
LXXVI
XCIV
L1X
Caledonian. Inc.
Carriage Trade. The
Caro. Frank
Cassell & Co.
Child's Gallery
Clarges Gallery
Clossons
Collet's
Connoisseur — Next Month
Connoisseur — Register
Crane Arts Ltd.
Crispin
Crowther & Son. T.
Currie s Auctioneers
Dalva Bros.
Delomosne & Son Ltd.
Dombey, P. & B.
Drian Galleries
Drown. William R.
Dver. Herbert H.
EdltH
>ubli
Farrington. R. A.
Ligler. George E.
Fine Art & General Insurance
Fine Art Society
Fowlkes, Alida Harper
Frodsham. Charles is. Co.
Frv Gallery
Fu-Ming-Fair
Galka Inc.. 1 1.
X
LXXIII
LXII
XCV
XL VI
XCIV
LXXIV
IV
LXXIV
LXXXIV
LXXXll
XIX
LX
V
LXIIl
LXXVI
LXXXIV
LXXIV
LXXX VI
XCYIII
LVI
LXX
XCII
XVIII
LXXXll
LXXVI
LXXXIV
XLIV
LXX
CrindtT <V W/hltV I Til
V '<tllV.lv 1 v. v * * 1 11 IV. I - V V.1 ■
LVI
Garrard & Co. Ltd.
XLV. LXXIV
Ciirnrt Tnr F (1 \vi rn
vi (i 1 1 ii l i iiiv. . • j v. i v v ai v. i
LXXX VI
Ciinshnro' X T f*w
V i 111 iU 111 i_, l—i V. > \
T XXXIX
Gordon, Elinor
XXI
Grabovvski Gallery
LXXXIV
Green. Richard
XI
Gregoire Galleries
XCVII
Gregory & Co. Ltd.
XL II
Guide Emer
LXXVI
Hall. Michael
XCII!
Hammer Galleries
XXII. XXIII
H immirr K^ntitTn
1 Ir.llllllllL. lvs.llllv.Lll
LXXI
HalKhorou,rh Gallery, "The
LX
Harris (V Sotin W
1 1 ll 1 1 1 .' \_ V —> V ' 11J< 1*1.
XXV
Hartford, Hou^e of
XCV
Harrnoll & Eyre Ltd.
XXVI
Harvey & Gore
XXX
Hilton Gallery
LXXVI
Hirschl & Adler
XII. XIII
Holborn Tableware Co.
LXXVI
T T 111 1
Howell, losephme
LXXXll
Jacobsen, Charles W.
LXX
facoby's of Montreal
lxxxvii
leremv Ltd.
\ ' T 1 1 TV
\ 111. IX
Johannesburg — Auction >a
T V
le LX
Johnson, O. >x P.
X L v 11
|ulian
N'T \ "I
XL VI
Kaplan Gallerv
XLIX
Kave Ltd.. Simon
XLII
Knoedler, M. & C. Ltd.
LVI
Koetser Gallerv, Brian
L. Ll
Koetscr Gallerv. Leonard
XXXVIII,
XXXIX
LaVerne, Philip
LXXII
Lee. R. A. XXXIV. XXXV
Letevre Gallerv
XLIV
Leser Galleries Ltd.
LVII
Le'Pere. Inc.
XCVI
Levene. M. P.
LXXVI
Lewison Gallerv. Florence
XCIV
Liros Gallerv
LXXIII
Linolite
LXVIII
Little Winchester Gallerv
LXXXIV
Loo. C. T.
XVI
Lowe ot Loughborough
LXXIV
Maine. Florene LXX VII. i XXVII!.
I XXI\
Mallett t\ Son
XXVIll
Maple t\ Co.
LVIII
Markarian, R. R.
XCIV
Marlborough lane Art
LVIII
Mayorcas Ltd.
XV
Midtown Galleries
XCV1II
Miller. Nita
LXXIV
Mitchell & Son, John
XXIX
Nelson & Sons, T.
XLIV
Newhousc Galleries
I XXV
Newman, M.
XC, XCI
OmeU Galleries
LXXXIV
O'Nians, Hal
LXXIV
Pans — Auction Sales
LY
Parr, Marjorie
LXIX
PirfruLTt1 X Sons I Til FrniL'
1 it 1 V 1 1 VI i_, V W .J v/ 113 l—i L vl . ^ I tell 1_TV
LXXXV
Paterson. Charles C.
LIV
Peel & Co. Ltd.. David
LXIII
Perez
XXXII
Phillips Ltd.. S. }.
VII
Porter, R. E.
LXXVI
Pratt, Stanley J. Outside
back cover '
Preston Ltd., Rupert
LXXIV
Prestons Ltd.
XXVII
Prides ot London
I
Pulitzer Gallerv
T VT
LAI
Rich's Atlanta
XCVI
Roland, Browse & Delbanco
LXIV
Routledge &. Kegan Paul Ltd.
u6
Rowlands Antiques
LXX
Sabin Galleries
LXXXIV
Sandor Inc., H. c\. C.
x
Snowc ise
LXXVI
Snrimsole S 1
CV
Silvesivr <\* Sons A
JIM V. Jit 1 ^.V JvHIj. 11. X.
1 XXVI
SimoTis Sea
LIV
Sokolowski. Hans
xvm
Sladmore Gallerv
LXXXIV
Smiths. The Charles B.
LXXXVIII
Smith. Kavwin
LXXIII
Sotheby's
C-CIV
Souhanii, E. B.
LXXVI
Speelman. Edward
LXXXIV
Spencer &. Sons. Henrv
LXVIII
Spink & Son Ltd.
CVJ
c 1 r~
Sussel. Eugene
LX
Tillman. Alan
LXIV
T 11 \vr-1]-
1 illman. \\ llham
: \ A \ 1
T T T 1 " ' 1
1 reasures Lnlimited
L 1 \
~r r- 11 _
I ryon Gallery
1 X A A I \
Upper Grosvenor Galleries
XL
Vandekar. J. & E. D.
LII
Vercel, Felix
XVI
Vieille Russic, A La
XLI
Vose Galleries
XCIX
W 1 1: 1 tiK i-Sr( 1 1 vec (iillcTies
\ » .lr^^.ll\.lV.l .>V.l.ll\.l Vi.lil^liV.^
XLIII
Wallv F Cilleries
XXIV
Walter Antiques, W llham
XXVIll
W ilsmn Sm irt
>» tii.iiviit kJiual v
XLIII
Ware Gallerv, William
LXIX
W irtski I rd
* \ til I 'M LIUi
XXXVII
Wellhv H S
XLYIII
W i('tii*r (ii tTv
W 1 V. 1 1 V 1 VI.lllV.1 >
XCIX
W ilson <S. Sharp Ltd.
LIII
Wine Antiques Inc.
LXXXll
Wine Ltd.. Louis
XXXIII
Woollett cV. Son, Charles
XX
Wrev Ltd., Dcnys
XXVI
Wright. Carl
XCVII
Ycakcl, Carl
1 XXXIII
•••••• ' ' ' ■' ••' <" ■' mutiku4\
I fine Chippendale mahogany Commode of unusually
lqw proportions, circa 1 760. Height : 33 inches
tgti: 44£ inches Max. Depth: 20 inches
■
8-10 HANS RO.AD. KNIGHTSBRIDGE, LONDON, S.W.3
Telephone: 01-589 5266
Members of The British Antique Dealers Association
1 W SKKk
he Connoisseur
November 1968
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The Connoisseur
Vol. 169 No. 681
YVONNE HACKENBROCH
L A V I N I A HANDLE Y-READ
ALEC CLIFTON-TAYLOR
WILLIAM GAUNT
DENIS THOMAS
SHEEN AH SMITH
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FOUNDED 1901
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NOVEMBER 1968
Some Florentine jewels
Alfred Gilbert: .1 new assessment, Part 3
An old house in Essex resuscitated
The remark able story of the Bauhaus
Warrington revives its collections
Unrecorded Lowestoft pug dogs
Problems and Solutions: 1 1
A painted neo-classical commode
The Times-Sotheby Index: 2 Old Master Prints
In the galleries
Art in the modern manner
Continental Dispatch
Art news in pictures
International Saleroom
Books reviewed
Books received
The American Connoisseur
Snakes, snails and creatures with tails
French bronzes in New York
The American way with art
C) November 1968. National Magazine Company Limited
Cover
Childc Hassani. Field of Poppies, Appledore (1898), watercolour, 2o| ■ 14I inches. From the collection of
Messrs. Hirschl i\ Adler Inc., 21 East 67th Street, New York, currently on view 111 their exhibition
'The American Impressionists'.
CARL CHRISTIAN DA UT E I1MAN
J ( ) S H l» 1 1 T . BUTLKU
137
144
L52
157
162
I64
165
166
168
172
174
176
r78
179
182
184
1 85
194
200
Colour Plates
Some Florentine jewels: Merman, Virtue mastering a dragon, I lippocamp
Alfred ( lilbert : The Virgin, polychrome br< »nzc
American way with art: Fabcrgc nephrite vase
r38
|-I7
203
1 lie Connoisseur, November, i</>8
CLAUDE MONET (1840-1926)
LES EAUX DE LA SOMME-EFFET DE SOLEIL
ex coll.
HIKSCHL
iihF:
mi
M
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GALLERY HOURS
TUESDAY through SATURDAY 9 30-5 30
A ll LEU
(y^ix- .
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Our contributors in this
issue include:
alec clifton-taylok : author of the standard
work 'The Pattern of English Building'.
CARL c.dauterman: Curator of Western European
Arts, Metropolitan Museum, New York.
William GAUNT: author of a number of books on
nineteenth- and twentieth-century art.
yvonni: HACKENBROCH : Senior Research Fellow,
the Metropolitan Museum of Art, New York.
dents THOMAS: author and collector of English
drawings and watercolours.
Next
month in
The Connoisseur
The December issue will include
Kelmscoti by A. R. Dufty. William Morris's holiday hom
restored by the Society of Antiquaries of London.
A Flemish Cabinet by Andrew Graham. An early 17th
century cabinet decorated by Hendrik van Balen.
Bernini's bust of Charles I by R. W. Lightbown. Its journe
from Rome traced by unpublished documents in the Vatican.
Thomas Harris and Gainsborough Dnponi by John Hayes.
Portraits commissioned by a proprietor of Covent Garden
theatre.
The de Hattke Bequest by William (iaunt. Remarkable 19th-I
century French drawings in the British Museum.
Jordaens and Canada by Jean Sutherland Boggs. An exhibi-1
tion of 314 paintings, drawings and tapestries at the National]
Gallery in Ottawa.
Elizabethan AleGlassesby I. Noel Hume: The most complete,
examples of late 16th-century English glasses yet excavated.
The Times-Sotheby Index: 3 by Geraldine Keen. English |
silver prices compared with the stock market since 1951.
GKTEENTH CENTURY FRENCH FURNITURE AND WORKS OF ART
44 EAST 57th STREET. NEW YORK. N. Y. 10022
TELEPHONE PLAZA 8-2297
An extremely rare late Louis XV upright cabinet. The very fine picture
marquetry portrays a town with a river meandering through it. The
unusual shape of this piece attests to the great originality ot its creator,
Pierre Roussel. This extraordinary example of the cabinetmaker s art 1^
illustrated in LesEbenistes (hi XI 'lit Sikle Francais (p. 132; Paris. 1963 It
was formerly in the collection or the Cleveland Museum of Art.
<ffiare &uj&,/l and G»itinenta£ ofiiiter, oMintatutvs.
A fine ruby, emerald and diamond brooch and p.iir of earrings
and six heart-shaped cluster rin^s. Actual Size.
Examples from our collection oj lSth Century Jewellery
I aluations for Probate, Insurance and Division
Telephone: 01-629 6261 Telegraphic Address "Euclase, London W.V
By Appointment
to H.M. Queen Elizabeth
The Queen A/other
By Appointment
to H.M. Queen Elizabeth II
Jewelhi s
By Appointment
to the late Queen Mary
ESTABLISHED: 1865
AND AT LLANDUDNO
FOUR ATTRACTIVE EXAMPLES OF THE WORK OF CARL FABERGE
Top left: Green gold and opaque blue enamel cigarette case with rose diamond thumb-piece Top right: Opalescent white
enamelled strut clock with chased silver gilt mounts and set with pearls Front left: Pale green translucent enamelled clock
with chased red and green gold mounts and four foiled moss-agates within pearl borders Front right: Red gold cigarette case
with repousse decoration and sapphire thumbpiece
3
255 KING'S RC
Telephone: FLAxman 0644
FLAxman 3127
Members oi
t
>rcakfast tabic, as an antiquity in its own right, seems to have been
from an early date. From Tudor Inventories we see the distinction
ecu the dining table and the breakfast table has alrcadv been drawn.
rivy purse expenses of Princess Mary in 1544 contain the entry
'for mending the brekefaste borde' and at roughly the same rime in
Henry VM's privy chamber there existed 'a brekefaste table ot
walnuttrec*.
During the iSth Century, the habit of rising late and breakfasting
upstairs led to the breakfast table becoming an article to be seen not
only in the difiing room but also a most important part of the bedroom
furnishings.
We acquire through enterprise with discrimination
FOR
We restore through expertise to perfection
X3NDON, S.W3
ables: jeremique, london, s.w.3
sociation Ltd
: third quarter of the T 8th Century. A most
it serpentine fronted commode of drawers
in faded Cuban mahogany, the sides being
nd moulded, the mahogany lined drawers
ning all the original handles.
Sfis: Height: 2 fr. »i in.
Width: 4 ft. 2 m.
Depth: 1 ft. ro in.
About the middle of the iSth Century rhe serpentine shape, which
required more skill on the part of the craftsman in cutting, laying and
matching veneers began to take the place ot the hard rectangular forms
of the earlier part of the century. The effect of this was to lighten the
design of commodes, chairs, sideboards, etc. and to produce a far more
harmonious tone to the home.
Towards the end of the century the design began to disappear in favour
of the newer neo classical square and semi square forms.
VAL
We discuss with knowledge for elucidation
/
Oiiii K A
-
I
-
HiR
SANDOR
INC
LAMBERTYILLE. NEW JERSEY OS53
TEL. 609 397-0397
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of ssle and description size and lot number of each
painting and the price paid in sterling and dollars
( excluding pictures under £1001.
MONTHLY— Investors and col-
lectors guide
a report by art experts on current trends in fine art
auctions w ith con — &nts on notable future sales.
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ahead with the date and place of sales.
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Important Loan Exhibition / October 24 • November 30
For the benefit of the Lenox hill Hospital
FOUR MASTERS
OF IMPRESSIONISM
Monet Pissarro Renoir Sisley
Complete Catalogue Available
Text by Francois Daulte • 70 Color Illustrations • $5.50
Renoir -"La Place de la Trinite"
ACQUAVELLA GALLERIES, IXC.
18 East 7 9 th Street, N.Y. • RE 4 - 6 3 O O
CHRISTIE'S
Our Representatives in \merica:
JOHN RICHARDSON The Hon. CHARLES ALLSOPP
JERRY E PATTERSON
W Madison Avenue. Sew York. S. Y. 10021 Telex: New York 620721
Telephone: Rhinelunder 4-4017 Cables: Chriswoods, New York
Illustrated Catalogue [3s plates, 1 in colour) 15s. 6d. post free.
Will offer at auction on
WEDNESDAY, NOVEMBER 20th
HIGHLY IMPORTANT
OLD ENGLISH SILVER
The property of The Rt. Hon. The EARL of R <
M.B.E.. SIR WILLIAM BLTLIN. M B.
MRS. M. J. CARBERRY and others
George II cake basket. h\ Pa ( resp 1. ~;. N i. ia
Pair of George II silver-gilt candlesticks. h> Simon Pantin. 1727. 6' in. high. One of
"Anne siKer-ailt dishes. tn Pierre Plate!. I"10 and 1"12. 5,' in. diam.
MS
Set of four George III candlesticks. h> William Cafe. 1"64. 101 'n high.
\ll sales are subject to the conditions printed in the catalogues
8 King Street. St. James's. London SAV 1
Telephone: 01-839 9060 Telex: 916429
George II epergne, r>> William Cripps, the four small dishes by O. W
Holmes, 1756. I5J in. high.
Telegrams: Christian, London S.W.I
XII
RICHARD GREEN (FINE PAINTINGS)
Member of The British Antique Dealers' Association
A wooded and hilly landscape with a shooting party
JAN WYXAXTS, 1630-1684
Signed. Panel 9 1H inches
Collections: Sir Frederick Cook. Bt.. Richmond 1S92
Sir Herbert Cook, B:.. Richmond 1914
Catalogue Xo. 390
Hofstede de Groot Catalogue Raisonne. volume VIII.
Xo. 594 r. 562'
36 DOVER STREET, LONDON W. I Telephone: 01-493 7997
MIDER GALLERIES Inc.
40th ANNIVERSARY LOAN EXHIBITION
1928-1968
November 7 - December 7
Oil on canvas 24 x 19J inches
PIVOINES DANS UN VASE BLEU ET BLANC
by
HENRI FANTIN-LATOUR
Exhibition for the benefit of
The Girl Scout Council of Greater New York, Inc.
Catalogue available, $5.00 post paid
51 East 57th Street New York, N.Y. 1 Oi
Telephone:
Plaza 8-04 1 0
Cable ad Ml
Hammerg;
FERRERS
9 Piccadilly Arcade
London S.W.i
HYDe Park 6948
STEINLEN
Exhibition of drawings and lithographs
Opening 5th November
Illustrated catalogues available
Charcoal 22 18 in.
FERRERS
9 PICCADILLY ARCADE
LONDON S.W.I
CHRISTIE'S
Fine Art Auctioneers Since 1766
Announce
The Inauguration of their New York Premises
With a Benefit Exhibition
VAN (iOGH. GAUGUIX AND THEIR CIRCLE
(Masterpieces from New York Collections)
November 14 — 30
In Aid of
THE EPISCOPAL MISSIOX SOCIETY
Christie. Manson & Woods (U.S.A.)
867 Madison Avenue, New York, N.Y. 10021
Telephone: RH 4-4017
1 1 j •
BIGGS
of
MAIDENHEAD
ESTABLISHED: 1866
OVER 100 YEARS
OF FINE DEALING
Fine original oil painting showing the return of the Indiamcn to Gape Town in 1817. By Thomas
Whitcombe, signed and dated 1817. Canvas 36 54 in., Frame 41 59 in.
OPEN Al l. I >AY
INCLUDING SATURDAYS
CI OSED MONDAYS
26, 28, 30, 32 HIGH STREET MAIDENHEAD BERKSHIRE TELEPHONE: 26363 4 STD:OMAX
24 hr. answer phone service
["he Connoisseur, November, 1968
XVI
t
FOUNDED
1870
ffl
WALLY
F
GALLERIES
(Si
NEW YORK CHICAGO PALM BEACH
KEES VAN DONGEN
(1877-1968)
Le Paddock, Deauville, 1920
Oil on canvas: 31 g 39| inches
Signed lower left: Van Dongen
19th AND 20th CENTURY FRENCH MASTERS
Impressionists Fauves Post-Impressionists
AMERICAN REPRESENTATIVES FOR TWENTY-FOUR CONTEMPORARIES INCLUDING
BERNARD BUFFET. JEAN JANSEM, ANDRE HAMBOURG AND NICOLA SIMBARI
17 East 57th Street
NEW YORK. N. Y. 10022
Tel. 212: 421-5390
175 Worth Avenue
PALM BEACH, FLORIDA 33480
Tel. 305: 833-9717
320 South Michigan Avenue
CHICAGO. ILLINOIS 60604
Tel. 312: 939-4481
HEIM
AUTUMN EXHIBITION
BAROQUE PAINTINGS, SKETCHES AND
SCULPTURES FOR THE COLLECTOR
NOVEMBER - DECEMBER 1968
St. Ambrose by Pierre Hubert Subleyras (1699-1749).
Canvas. H. 23 ins. W. 16| ins.
This is a preliminary study for the figure of the Saint in the picture
'St Ambrose absolving the Emperor Theodosius" , dated 1745 (Perugia).
Tel:
01-493
59 JERMYN STREET, ST. JAMES'S, LONDON S.W.I
Also in Paris, 109, Fbg. St. Honore. Tel: BAL 2238
F.I Y dQ9.fi
< lables:
ill [MC VL LONDON SW1
BY APPOINTMENT ANTIQUARIES OF CHINESE WORKS OF ART
TO H.M. THE KING OF SWEDEN
BLUETT & SONS
Oriental 3Borfcs of Srt
An old Chinese red lacquer dish with deep
cavetto and everted rim; the exterior with dragons amongst waves.
Diameter 15 inches. Lung eh' ing period 1 567-1 572.
During the Ming dynasty the Chinese used the sap of the lacquer tree (rhus vernicifera) as a decorative medium
in a number of different ways including incised and inlaid lacquer and lacquer inlaid with mother-of-pearl and other
materials. However, the most important group is the carved lacquer found in many forms ranging from small
boxes to important pieces of furniture, and also in varying colours, but predominantly red. This scarlet colour
is generally know n as cinnabar lacquer, from the colouring agent mercuric sulphide, commonly known by that name.
Doubt still surrounds the earliest date at which red lacquer was carved in China but 15th century attributions
can now be made with confidence and by the 16th century dating problems have largely disappeared. A consider-
able number of pieces of the Chia-ching and Wan-li periods survive, many of the latter with cyclical date marks,
and the designs, colours and techniques are distinctive.
However, dated pieces of the brief Lung effing period (A.D. 1567-1572) are extremely rare and the large dish
shown in our illustration is one of the few known. An interesting feature of this dish is that the 'guide line' is
in dark green and that in the cavetto. both inside and out. this layer of lacquer has been used as the ground colour
while the everted rim and the centre have both been carved down to the buff ground. A small dish exhibited in the
Oriental Ceramic Society Exhibition 'The Arts of the Ming Dynasty' lc)57. also of the Lung-ch'ing period, has
the green ground.
Members of The British Antique Dealers' Association Ltd.
48 Davies Street, London, WIY ILD
Cables: "Chineceram, Lond VV.!" Telephone: 01-629 4018 and 3397
..7
By Appointment
to Her Majesty Queen Elizabeth I I
Supplier of Carpets
(Member of B A D. A.)
c
A 19th Century French Needlepoint
Carpet on ivory ground with diagonal
motifs of roses in pastel colours.
Size: 15ft. I I ft. (4 55 3 35 m.)
FINE TAPESTRIES
SAVONNERIE and AUBUSSON
CARPETS
NEEDLEWORK and BROCADES
70 SOUTH AUDLEY STREET, LONDON, W.I Telephone: HYDe Park 5288 and at 36 high street, oxford.
Telephone: Oxford 44197
WILLIAM WALTER ANTIQUES
ANTIQUE
TABLE SILVER
OF THE
GEORGE III
PERIOD
60 pieces of Old English Pattern.
Dale 1809-1 I In Wm. I ley. Win.
Fearn and Wm. Chawner.
Weight 89 oz.
60 pieces of Kings Pattern. Date
1818-20 by Wm. Eley, Wm. Fearn
and Wm. Chawner. Weight 1 28 oz.
60 pieces of Fiddle Thread Pattern.
I )ate ISIS In Thomas Heaslcv
Weight I OS oz.
ONDON SI I. VI l< VAULTS
( IIAN( I KY I.ANF
LONDON
W.C.2
Telephone 01-242 3248/9
Telegrams Walter Silvavults London W.C.2
'I he ( (inu<>i\M.*iir. Novi-mlnr. p/»S
XX
'. GROWTHER & SON
1 ;ROWTHER & SON LTD
12 NORTH END ROAD, FULHAM SW6
■ LEPHONE: 01-385 1375/7
I iBLES : ANTIQUITY, LONDON
I ase note: We close at 1 p.m. on Saturdays
J
I
A finely carved Statuary marble Chimneypiece - English - mid
18th Century.
L igth of shelf 6 ft. 5^ in.
i iota! height 5 ft. 7 in.
Opening width 4 ft. 2| in.
Opening heigi .* 4 ft. 0 in.
□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□
§ m SIMON K AYE ltd
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L
[
1b ALBEMARLE ST
PICCADILLY
LONDON W.l
Telephone:
HYDE park 7658 and 5152
A William III pair of
Candlesticks on octagonal
gadrooned bases with
fluted centres, gadrooned
knops and fluted column
Ntems, with gadrooned
sockets.
Date: 1699
Maker: John Barnard
of London
Height: 7J in.
Weight : 18 oz. 3 dwt.
□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□[
DAVID PEEL
& CO. LTD.
European
Works of Art
THE LAOCOON GROUP
Bronze
1 [eight : 1 1 1 inches
Italian I 7th Centurv
2 CARLOS PLACE, MOUNT STREET, W.l
HYDe Park 3161
[
XXII
KAPLAN GALLERY
HENRI MARTIN [860-1943
LA BASTIPF
RECENT ACQUISITIONS
FRENCH IMPRESSIONIST PAINTINGS
AGARD
BOUDIN
CAILLEBOTTE
CORDEY
D'ESPAGNAT
GOENEUTTE
GUILLAUMIN
JONGKIND
LAUGE
LEBASQUE
LE SIDANER
L. LOIR
LOISEAU
MARTIN
MAUFRA
MONTEZIN
PETITJEAN
L. PISSARRO
RENOUX
SCHUFFENECKER
VIGNON
NOVEMBER 6th - 30th 1968
DAILY io- 6 SATURDAYS 10 - 1
Illustrated Catalogue ?/6 inc. postage. [I . v 4. $i) Sold in aid of the Imperial Cancer Research Fund
6 DUKE STREET ST. JAMES'S LONDON S.W
01-930 866^
ft* B> M'l'OIMMKM IIIHI R MAjl.vn 1111 I IX. GOI.DSMII US & Ck< 1WNJI WTU.ERM. AKKAKI) & COMPANY LIMITED, LONDON'.
GAR RAR D The Crown Jewellers
A fine Georgian emerald, * k •Tp'
diamond and gold necklace
with matching earrings.
The pendant can be worn as
a brooch and the earrings
have detachable drops.
GARRARD & COMPANY LIMITED '112 RECENT S I HI E I • LONDON • WIA 2JJ TEI EI'HONE 01-7 54 7020
\ \l\
BY APPOINTMENT
DEALERS IN ANTIQUE FURNITURE AND WORKS OF ART
TO THE LATE QUEEN MARY
M. Harris & Sons
CENTENARY YEAR
\ Hepplewhite painted and gilt settee in the French manner, having finely carved floral decoration. England, circa 1785. Length: 6 ft. 11 ins.
CENTENARY BOOK containing 136 illustrations.
Price 60/- nett, or 64/- including postage and handling charges
(or equivalent in convertible currency).
44I52 New Oxford Street, London W. C. J
Telephone: 01-636 2121 Telegrams: Artisonne London WC1
xxv
iced
Antique and Old Oriental Carpets
and Rugs, Tapestries, etc.
BO! CUT- SOLD - EXCHANGED,
fitted carpeting in exclusive
plain colours a speciality.
J Larly iXth Century Lille Tapestry
Size 9 ft. 2 in. high 13 ft. 8 in. wide
Ref. 53611
112 BROMPTON ROAD, S.W.3
Perez
Telephone 01-589 4411 (3 lines)
Telegraphic Address 'CARPEREZET'
also PARK STREET, BRISTOL and
AMSTERDAM
JULIUS BOHLER
OLD MASTER PAINTINGS
SCULPTURE ANTIQUES
MUNICH
Briennerstr. 25
I I I EPHONE: MUNICH 55 15 29
II I . ADDRESS: PAINTINGS
I he ( Connoisseur, November, 1968
XXVI
PRESTONS LIMITED
ESTABLISHED 1869
Member of the British Antique Dealers" Association
GEORGE III
Silver Tray 1803.
\ our pieces 1808/9. All made by Samuel Hennell.
Total weight : 131 ozs.
DEANSGATE • BOLTON • LANCASHIRE • t
alsoat 91 MOUNT STREET LONDON W.1 TEL: 01-499 7644
AND AT 30 AVENUE ROAD • TORONTO 5 • CANADA • Tel: 920-5157
Christmas can be a bit
of a bind for connoisseurs
It's not usually the done thing to give the
>ame present to a number of friends.
But when the) all share your good taste and
the present i^ a year's subscription to "The
Connoisseur", then you know vou are doing the
right thing.
It's the finest prevent they could wish for.
Twehe months of events and discoveries in
the international world of fine arts.
For just £7.10.0.
Just send us the names and addresses of
vour deserving friends. A Christmas card will be
sent in advance to sa> the gift comes from you.
We'll invoice you later. Meanwhile, we have a
present for you. For each subscription you give
you will receive - free - a handsome binder to
hold six copies of your ow n "Connoisseur".
That wav it's bound to be noticed. By people
with taste.
The Connoisseur Subscription Dept.. The National
Magazine Co. Ltd.. 22 Armour> Way. London. S.W.I 8.
XXVIII
M. NEWMAN LTD
Established 1870 Members of The British Antique Dealers' Assoc iation I. tel.
43a Duke Street, St. James's and 1/5 Ryder Street, London, S.W.i
Telephone: 01-930 6068 Telegraphic Address: NEWPIC, LONDON, S.W.I
"Chiswick on Thames"
by R. TONGE, 1848 (signed with initials and dated
Canvas size: 24 • 36 inches 61 • 91 cm.)
Framed size: 2! ! 1 inches 74 ■ 104 cm.)
Exhibited: 1 iverpool. Walker Art Gallery
11. oi ' Exhibition of Liverpool Art. 1908. No. 182
Collection: Alderma V\ H. Jowett
XXIX
These paintings are a J(
" / he Sit k Doll"
l>\ \\ 1 1 I 1 \\l P< )\\ I 1 I FRITH. R \ .. 1885 signed and dated
Canvas size: _'H 3(5 inches 71 • ltl cm.
hes 88 108 . m
Exhibited: K..n.»I Academy. 1886. No. Ui>
Whitechapel St. Jude's 1886. No. 16
Collection: James Panton
M. NE^
F.«ablithr<J 1870
43a Duke Street, St. Ja 1
Telephone: 01-930 6068
nc Jed in our exhibition
Fu ' illustrated catalogue
1) >st free.
If litials and dated
i m.
cm.
.. 368
N LTD
tish Antique Deaiers' Association Ltd.
it Street, London, S.W.i
»: NEWPIC, LONDON, S.W.I
"The Opinion iif ili, Pre\s
h\ 1 H< >M \S I. R( IBER I S signed
Canvas size: -M? 29J inches f>:i 76 cm.
Framed size: fit'. 35J inches 77 'Kinn
Exhibited: [Societ\ "I British Artists. 1 8">9. No. 173
"A View in Sussex"
by E. M. WIMPERIS, 1888 (signed with initials and dated
Canvas size: 30 50 inches 76 127 cm.
Framed size: 36 ■ 56 inches 91 1 12 cm.
M. NEWMAN LTD
Established 1870
Mcmbei s o| The British Antique Dealers* Association Ltd.
43a Duke Street, St. James's and 1/5 Ryder Street, London, S.W.i
Telephone : 01-930 6068
Telegraphit Address: XEWPIC, LONDON. S.W.I
"Comedy Unlet i
b> DAME LAI K \ KNK.II I I) H K K. \. signed
Canvas size : 2 > 30 inches I > 1 76 cm.
Framed size: il 36 inches (79 (M cm. J
Exhibited: Royal Academy Diploma Gallery, 1965. No. r>0
I In ( oiiitoissciir, November, l*/»H
X \ \ 1 1
A magnificent Cromwellian silver t.177.1. London 1650. Maker' mark T.B. ( Jackson page 1 16) Contemporary Coat of
Arms. Width 1 1 J inch
IV. BLOOM & SON I
4*0 Albemarle Street - Piccadilly London W'V
Established 1912 May fair 5060-
Antique Silver
GEORGE I SILVER
a fine & unusual tankard & cover
engraved with original armorials
LONDON 1721
by Bowles Nash
overall height: 8J inches, weight: 31 -5 ounces
A very important English
Needlework rug of the early
18th century, c. 1730, with
large floral motifs of carna-
tions, poppies, etc., in reds,
blues, yellows and greens on
an ivory colour field, enclosed
within a narrow border of
floral sprigs on an ivory
ground.
Size 5 ft. 3 in. 4 ft. 2 in.
1 m. 58 cm. 1 m. 25 cm.
May ore as Ltd
+r Member of the BADA Ltd
38 Jermyn Street St. James's
London S.W.I Telephone: 01-629 4195
The ( nnnoiucur, November, i«/>h
XXXIV
VALUATIONS
TEMPLE
WILLIAMS
LIMITED
ANTIQUES
WORKS OF ART
AN 18th CENTURY INDIAN IIORY REIOLI'ING ARMCHAIR of Burgomaster type, the ivory etched with foliate
designs in black.
This Chair which was probably copied from a walnut original from the Dutch settlers on the Coromandel coast was formerly owned
by the Tipu Sultan and was taken after the storming oj Seringapatam in 1 799. It later came into the possession of 1 1 arren Hastings
who presented it to Queen Charlottte.
Ex Cliveden collection.
HAUNCH OF VENISON YARD ■ BROOK STREET • LONDON* Wi
MEMBER OF THE MAYFAIR 1486
BRITISH ANTIQUE 24 HOUR TELSTOR
DEALERS ASSOCIATION TELEPHONE SERVICE
XXXV
IV. BLOOM & SON !
4*0 Albemarle Street 'Piccadilly London. W'l-
Established 1912 May fair 5060-
Antique StJt'e/~
GEORGE I SILVKR
a fine & unusual tankard & cover
engraved with original armorials
LONDON 1721
by Bowles Nash
overall height: 8* inches, weight: 31-5 minces
A very important English
Needlework rug of the early
iStli century, c. 1730, with
large floral motifs of carna-
tions, poppies, etc., in reds,
blues, yellows and greens on
an ivory colour field, enclosed
within a narrow border of
floral sprigs on an ivory
ground.
Size 5 It. 3 in. 4 ft. 2 in.
1 m. 58 cm. 1 m. 25 cm.
■J
Mayorcas Ltd KSsSK
Member of (he BAUA I .wl
Street St. James's
Telephone: 01-629 4195
The ( onnoisseur, November, i<y>*
XXXIV
WORKS OF ART
AN iSth CENTURY INDIAN II ORY RE\ OWING ARMCHAIR of Burgomaster type, the ivory etched with foliate
designs in black.
This Chair which was probably copied from a wiilinti original from the Dutch settlers on the Coromandel coast was formerly owned
by the Tipu Sultan and was taken after the storming oj Serittgapatam in i ~og. It later came into the possession oj II 'arren Hastings
who presen'ed it to Queen Charlottte.
Ex Cliveden collection.
HAUNCH OF VENISON YARD ■ BROOK STREET ■ LONDON' Wi
M AYFAIR 1486
24 HOUR TELSTOR
TELEPHONE SERVICE
VALUATIONS
TEMPLE
WILLIAMS
LIMITED
ANTIQUES
MEMBER OF THE
BRITISH ANTIQUE
DEALERS ASSOCIATION
XXXV
^7
y
i
f
GLAISHER & NASH
LIMITED
An exceptionally attractive early Regency rosewood
Cabinet, panelled out with fine brass mouldings ;
with two cupboards and a central drawer.
C. 1800
Width 3 ft. 7 in., height 3 ft. 1 in., depth 1 ft. 1 in.
LOWNDES LODGE, CADOGAN PLACE
LONDON SW I Tel. 01-235 2285
Cables and Telegrams:
Vivantique, London W.l
'•r
( (pen li\ almoin! inent mils
Proprietor: PETER MANHEIM
t
to
D M. fcr P
MANHEIM
. cSnamt/b .
Member of The British Antique Dealers' Association Ltd.
Telephone: 01-723 6595
LONDON
69 Upper Berkeley Street,
Portman Square, W.l
BATTERSEA ENAMEL
CIRCA I7.">
A rare and handsome pair of cassolettes, the vase-
shaped covers of which inverl to form a pair of
candlesticks ami sconces. The) are decorated %\iih
marbling in soil shades of lavender, yellovt and
Mm . and touches of "ililin". 10 / inches hisrh.
i 'iiiin i , i >h
XXXVI
led, inscribed and dated November 1N01
Oil on Canvas Size 20^ 27 ins.
Ambleside
JULIUS CAESAR IBBETSON
1759 - 1817
JOHN MITCHELL & SON
8 NEW BOND STREET LONDON Wi
Tfiephone HYDe park 7567
WWII
Period Furniture
Works <>f irl
\n exquisite pair
of Louis \ \
ormolu
( !andelabra in I lie
form nl rose
Iiii^Iii^ I in ill II I I'll
on I }{| li cent urv
( Ihinese \ ases on
marble pliul lis.
LIMITED
Members of The British Antique Dealers Association
Expert Restoration
of A nt i (fiies
mmJ
Overall height
I 7 in..
\\ idth 9\ in.
From I be
( ollei lion of the
late Madame
( lonsuelo
Vauderbill
Balsan.
Telephone 01-235 1813/11
45 SLOAN E STREET LONDON S.W.I
Cables DENYSANT LONDON S.W.I
ASIAN
GALLERY
FAR EASTERN ART
AND
ANTIQUITIES
An important Chinese pottery vase of the Han period
(206 B C AD 220) Highly fired gray clay over which
a coating ol brownish- black pigment has been applied
A ten-character inscription was incised on the shoulder
after firing Height 15 inches Ex coll R H. Williams of
New Yoik
This piece is illustrated and discussed in "Chinese Pottery
of the Han Dynasty" by B Laufer(pl XXIX ; pp 1 29- 1 31
and 295 297) According to Laufer it is "the only one
ol its kind which I have come across, and is remarkable
for the gracefulness of its form" The Inscription leads
"Yen Shih made (this vessel) It contains two pecks (tou).
and weighs eleven catties (chin)". Inasmuch as Yen
Shih's name also appears on a bronze vessel of the period,
we may conclude that he worked in metal as well as clay
24 East 80th Street
Now York. N Y. 10021
Tel. 734-1 379
RICHARD S. RAVENAL, DIRECTOR
XXXVIII
EXHIBITION of fine
OLD MASTER PAINTINGS
days io.o a.m. - J. 30 p.m.
Saturdays 10.0 a.m. - 1.0 p.
October - December
PETER STEEN WYCK ,.[654
V.uiit.is
m.
Canvas 2 1 I ■ 1 7.I inches
BRIAN KOETSER GALLERY
38 DUKE STREET, ST. JAMES'S, LONDON S.W.I
01-930 6309
XXXIX
A. ARDITTI
Member of The B A D A Ltd.
1 2B BERKELEY STREET
LONDON W.l
01-629 0885
Tapestries, Textiles
and Needlework
A Pair of very fine
Knglish Needlework
Pictures, circa I 720.
In excellent condi-
tion with bright col-
ouring.
Height overall with
I ra me 2 ft. 9 in. (85
cm.). Width 22 in.
(56 cm.).
BUYinG
flDTIQUES
General Guide
BUYinO flHTIQUES
General Guide 30s
Reference Book 45s
A. W. COYSH & J. KING
These two purposeful volumes, one which we feel is genuinely above the
standard of any other guide to antiques, introduced by Arthur Negus, the other
a unique reference work, have their origins in last year's best-selling BUYING
ANTIQUES. American editions of both books are to be published by Frederick
A Praeger Inc. of New York.
BUYIDG
flDTIQUES
Reference Book
Contents of General Guide:
Ch.iptor headings are: Buying Antiques; Furniture, Clocks, Watches and
Barometers; Silver and Sheffield Plate; Non-precious Metal; Porcelain;
Pottery ; Glass ; Oriental Antiques ; Antiques for the Wall , Small Ornamental
Antiques, Suggestions for the New Collector There is also a glossary of
terms used in the trade
180 pages, with 20 pages of plates and numerous line drawings
Contents of Reference Book:
With sections entitled Looking at Antiques , Reading ahout Antiques , Talkn
ahout Antiques; Buying Antiques There is also a section on the regulalioi
governing the export and import of antiques and details, including pric
realised, of some 2,500 items sold at recent auctions
222 pages, illustrated
MATCHBOX LABELS A lavish pictorial display, including some in colour. JOAN RENDELL
41
Published by
DAVID & CHARLES
South Devon House • Newton Abbot • Devon
fhc f onnoissiiir .November, 1068
XL
A Sheraton mahogany
\/o pedestal dining table of
me colour, with one leaf.
Circa 1785.
Length 5' 2V '. Width 4'.
A Sheraton bow-fronted
chest of drawers
mahogany and satinwood,
with carved and
fluted columns.
ASPREY & CO. LTD.,
165-169 New Bond Street,
London, W1 Y OAR.
Tel: 01-493 6767
A
IS
By Appointment to
H.M. The Queen
Silversmiths 4 Jewellers
syrey
Victoria and A Iter I Museum, Crown Copyright
• ■
I
George II gilt wall mirror,
s' o" high, 2 9" wide.
This is just one example of a
remarkable collection of
antiques that awaits you
at Maples Antique Galleries.
Valuation lor Insurance and Probate.
MAPLE & CO. LTD.
Member of the British Antique Dealers Assot. Ltd.
TOTTTNIIAM C Ol'RT ROAD. LONDON, \V 1 11:1 Fl'S 7000
*anoe
is quite an art
too!
A work of art is unique. It is a tragedy when it is
stolen or destroyed. Money may not completely
compensate for the loss but it enables you to
start again. You may even find something better.
So get yourself peace of mind by getting the
protection of specialist insurance. An "All Risks"
Policy from the Fine Art & General Insurance
Company can insure pictures, tapestries, sculptures,
ceramics and works of art of all kinds against
fire, theft and accidents oi every description.
Fine Art & General Insurance have been the
acknowledged experts in the underwriting of works <
art and art exhibitions for over 70 years.
Indisputable Values — when certified by an approved
valuer, the values arc accepted by the Company
as indisputable.
Fine Art \lieiieral
Tnsu ranee I ompan v Lid
_'4 Cornhill, London F.C.3
Member of
Assurance
ial ( 'nion Assurance Croup ate Members of the Unitsh
I nsuritm c A ssociaiion.
[
M. VL AM INC K 'Riviere sous la neige' 191/ Canvas 27 \ in. ■ 35 in.
RECENT ACQUISITIONS XXIII
including paintings by
COURBET • BOUDIN - JONGKIND . SISLEY
CASSATT • BONNARD . VUILLARD
DERAIN • VLAMINCK - BRAOUE
1 2th November - joth November
TOOTH
31 Bruton Street, London W. i
01-499 6971
XLV
.JLJVOIWE
THE BORGHESE GLADIATOR
This work of a French artist of the end of the 17th century (height 56 cm.) will be
shown at the Exhibition THE FRENCH BRONZE FROM 1500 TO I800 organised at
KNOEDLER GALLERY. NEW YORK, in November I968
42 . rOIi\l rE KLF/BET^- CRJ^IS - ft IS 07-67
M . su XLVI
*
"Lb: V( )NT D! M< >R1 T" i 892
( )ll PAINTING BY Al FRED MM I V
281 x j 7 iiu lies
EXHIBITION OF XIX AND XX CENTURY PAINTINGS
NOVEMBER 7- DECEMBER 21, 1968
LEFEVRE
SPECIALISTS IN 1 INI XIX & XX CLNTURY
FRENCH PAINTINGS, DRAWINCiS AND HKOX/l S
VLEX REID & LEFEVRE LTD
30 BRUTON STREET, LONDON Wi
Telephone c : 1 2 $0. Cables Drawings London W 1 .
\i v 11
THE ANTIQVE HYPERMARKET
The biggest antique shop in the world.,
and the busiest. The Antique Hypermarkei
will have attracted nearly 200,000 visitor;
in its first year of operation. The result!
ing turnover makes it possible for trade
buyers to be served very competitivel]
by over 100 serious dealers with abou
one million pounds worth of constant^
changing stock. Open to the public-
admission free.
£8 p.w. Enquiries invited from serious and established dealers only.
m
NGTON HIGH STREET LONDON
E: 01-937 6911/8767 OPEN FROM MONDAY TO SATURDAY 10 a.m.— 5.45 p.
AUTUMN EXHIBITION
DUTCH AND FLEMISH OLD MASTER PAINTINGS
io a.m. -6 p.m.
Until I oth December, 1968
Saturdays 10 a.m. - i
PIETER CLAESZ (1600. Haarlem. [661)
Still Life with Lemons Signed and Dated, [627 Panel, 7'\ ■ 10 inches
Provenance :
Collection: F. Lu^t, Maartcnsdijk, Holland.
Exhibition: The Five C enturies of Dutch Still Lite.
Literature: Ralph Warner - 'Dutch and Flemish Flower and Fruit Painters'
payes S4 and s.s (illustrated).
LEONARD KOETSER GALLERY
13 Duke Street, St. James's, London, S.W.i.
Telephone: 01-930 9348/9
XL IX
SHOWCASE
. 1 / otiis XI
red Botille
watch stand,
1 4 in. high.
(Circa i 7So).
Philip & Bernard DOMBEY
174 KENSINGTON CHURCH STREET
LONDON W.8 BAYswater 7100
Uinster, Ireland. Map by loin, Speed.
Published 10-0.
OLD MAI'S. 1 // II S AND PUIS I S
Catalogues issued. Please slate yow interests.
Postal serrn, 10 ,11 pans.
BRIAN J. PAGE
(Prints & Maps)
"HILL HOUSE", 24 HIGH S I Ki l l .
mill RIC AY, I ssl X
Billericay 53471
< )ne of the many interesting items from our
stock. Why not pay us a visit?
M. P. LEVENE LTD „ VnT,
S I HUR1 OE PI ACE, LONDON SW7
Phones: ("i) 589 5755/3785
Voting I ictorio I - Albert Museum
Superb quality Kingwood lb II 'alnut Bureau Plat
with ormolu mounts, 4 ft. 6 in. -* ft. 4 in.
Price £38$.
A. T. SILVESTER & Sons Ltd.
W ARWICK ROAD, SOLIHULL
WARWICKSHIRE Solihull 0888
and at Warwick and Knowle
. I r lit llih 1 arar ininutturc buttercup, faceted
paperweight. 1 j in.
ALAN TILLMAN (Antiques Ltd)
ft HAI KIN AK< AI)E, L( )ND( )N s.W.i
Tel: 1IF.L 8235 Iclex No. 916151
( tables: 1 11 1 \\ 1 ights 1 <>ni>i in
Valuations and Sales Advice
Specialists
n
Antique
Clocks
CHARLES FRODSHAM & Co.
173 BROMPTON ROAD ^td.
LONDON S.W.3 Kensington 1073
One 0/ a selection of French marble fire-
places. Priie range from j[.6o
C. P. BURGE
162 SLOANE STREET
LONDON. S.W.I Sloane 4240
and at Thames Ditton, Surrey
0
' ",co III 1 789 Silvei Teapot & Staitil fully
Hall Marked in London
Makei H. Chawner. Weight 17 oz,
R. E. PORTER
2 and 4 POST OFFICE ROAD
BOURNEMOUTH Bournemouth 24289
( George III Silver Hot 1 1 'ater or ( toffee Jug.
London tSto. liy Bttrwash and Sibley.
Weight Jt>h ozs. and height ~S inches.
H. R. JESSOP Ltd.
3 MOTCOMB ST.. BELGRAVE SQ.,
LONDON S.W.I 01-235 297«
London 1791
Henry Chawner
Weight 5 ocr. 10 dwt.
HILTON GALLERY
(F. E. Goold)
3 ST. MARY'S PASSAGE
CAMBRIDGE Cambrid J
L
WE ALWAYS HAl'E AN A1LV.
TIVE COLL ECTION 0. 3L
TAPESTRY AND NEEDLl OR
CUSHIONS
E. B. SOUHAMI
6c PRINCES ARCADE
LONDON S.W.I
Re It 7lj
TUTANKHAMEN
(by post 64s. 6d.)
Erom all good booksellers or from I
THE PUBLISHING DEPT.
THE NATIONAL MAGAZINI ) Lt
22 ARMOURY WAY, LONDO \S :i
Stop! This antique many-bordered Cabistan measures 5 ft. 2 in. •
11 ft. Muted reds predominate in its dramatic coloration: a very
beautiful rug. Note: a small two-inch hole in one corner, otherwise
in fine condition, including the border not seen because of our
photographer's small studio.
EUGENE SUSSEL
ANTIQUES A\l» I l\fi AIM
1929 CHESTNUT STREET, PHILADELPHIA, PA. 19103
Members, of the Art and Antique Dealers Leaijue of America
and The Appraisers Association of America
DOLPHIN ANTIQUES
2? ENGLANDS LANE
HAMPSTEAD, LONDON, N.W. 3
01-722 7003
A fine George II cast basket by William Cripps 1746
Weight 49 ozs. Overall length 14 inches.
EIGHTEENTH CENTURY ENGLISH FURNITURE and FINE ANTIQUE SILVER
H. S. WELLBY
Antique English and Continental Silver
• - ERLIN
l6c Grafton Street, London, W.l Telephone: Hyde Park 1597
M.KNOEDLER&CO.
I 1 Easl 57th Street, Neu York. X.Y. 10022
INC.
November 6 — November 29 1968
FRENCH BRONZES
1 5OO-1800
Dccembei 2 December 28 1968
PRIMITIVE TO PICASSO
St. Paul's School Alumini Collection
L
NVw York Telephone: 212 PLA^A 3-9742
MU.K ADDRESSES "KNOEDLER" NEW YORK. PARIS. LONDON"
Paris. a.")bis i Ai noi i<(, sr. honor)
LONDON, 31 ST. JAMES'S STREET
■
i ii
early English red lacquer bureau cabinet
h elaborately fitted interior. Brilliant in
mr and in fine condition. Circa 1700.
-9 Bruton Place
ondon W.l
el. 01-629 5600
01-499 6266
R. A. Lee
RONALD A. LEE
R. T. Gwynn
The Manor House
Byfleet, Surrey
Tel. Byfleet 43346
(BY APPOINTMENT")
ERALD SpYER
An important George III painted and giltwood demi-lunc Commode, 64 inches wide, made for the Duke
of Northumberland by Robert Adam; from Northumberland I louse.
I lie top by Matthew Moulion — with fan-patterned panel and border of swags and dowers, front panels and
dividing stiles designed by I'ergolesi.
1 l\
237 Earls Court Road, Kensington, London, S.W.5
{corner oj Old Bromptoii Ro,ul)
Telephone: Frobislier 2000
A Pair of George III half-circle painted tables in Neo-classical style, the tops decorated with medallions
of Ancient Roman triumphal arches or ruins, the large oval central medallion on one is of St. Peter's Piazza
and the other after a Roman painting depicting a scene from the Trojan war, within borders and spandrels
of grotesques in polychrome. The interiors have gilt decoration on black ground. 36 in. wide.
These tables were the property of Frederick Augustus, 4th Earl of Bristol, who was also Bishop of Derry in the
late Eighteenth Century.
JOSEPH k EARLE D. VANDEKAR
I
m
ig. It inches high. Pair French Orrno . ir :
-
BROMPTON ROAD. LONDON SW3 Tel:
HAROLD TOWN
OCTOBER 3 -NOVEMBER 3(
DAUMIER
Medicals & Legate
♦♦♦♦♦♦♦
♦ ♦ ♦ ♦ ♦
♦ ♦ ♦ ♦ ♦
ANDRE
AYRTON |
DERAIN
KAPLAN
« . N ;
LAUTREC |
LECER
v.1 \NE7
MOORE
PICASSO
REM BRAND
RIOPELLE
STECEMAJM
TAFLR
TOWN
\ -VSERELY
VILLON
i 312' 2b.3-«1~i
Sears \ incent Price Gall
GEORGE I SILVER
from the Collection of
LOUIS WINE Ltd-
Established MO
Fine Art Dealers, Jewellers and Silversmiths /< Dublin <m><
31 & 32 GRAFTON STREET, DUBLIN
BY APPOINTMENT ANTIQUE DEALERS TO THE LATE QUEEN MARY
MALLETT
VIAL LETT & SON (ANTIQUES) LTD., 40 NEW BOND STREET, LONDON W.l. TELEPHONE 01-499 7411 (5 LINES)
C'ADLES: MALLETTSON LONDON W.l. AND AT BOURDON HOUSE, 2 DAV1ES STREET, LONDON W.l
A fine set of eight Adam
armchairs with oval, stuff-
ed backs, decorated in of]
white iunl <<ilt.
Il
Height of back to ground: 38
Height oj sent to ground: 17
Depth ('/ seat: ig\ in.
Width across arms: in.
THE HALL MARKS
OF ANTIQUE GLASS
by R. Wilkinson. Copyright.
To be published January 1969. Price 60/-
To be distributed through Antique Dealers only
Dealers wishing to obtain copies
should apply direct to the publishers.
Each dealer purchasing 5 copies, will
receive 1 copy signed by the author free
of charge and post free.
Single copies can be purchased from
the Wimbledon address of the author
at 60/- post free.
All enquiries for copies for other
organisations or societies should also be
sent to Wimbledon.
There is a fantastic interest in this publication, and there will
be a yreat demand for tins book Make sure you get your copy
of the first edition before il has been sold out
PRINTED AND PUBLISHED BY
RICHARD MADLEY LTD.,
54 GRAFTON WAY, LONDON W.1 .
WIMBLEDON ADDRESS:
R. WILKINSON. 11 HIGH STREET,
WIMBLEDON COMMON,
LONDON S.W.19. Tel. 01-946 0370
The only book ever written by a practical man,
revealing for the first time:
THE HALL MARKS visible or otherwise, signatures
and symbols of old glass.
THE METHODS OF THE GLASSWORKER
- and his tools. I
THE METHODS OF THE GLASS DECORATORS
- and their tools.
THE METHODS OF THE GLASS RESTORER
- and his tools.
THE METHODS OF THE GLASS REPAIRER
- and his techniques.
THE METHODS OF THE GLASS FAKERS
- and their mistakes.
The only book ever to distinguish
Irish glass from English glass.
WINEGLASSES AND DRINKING GLASSES
THROUGH - colour, tool marks, etc.
French paperweights from the copies,
reproductions and re-issues.
CHANDELIERS AND LIGHT FITTINGS by their
dressings.
The finest period in English glass history after
Ravenscroft: The Victorian Period.
And the fascinating story of Friggars.
Covering: English, Irish, French, Bohemian,
Dutch, Belgian, and American Factories.
Profusely illustrated in colour - 7 pages Over 100
pages in black and white.
rhc Connoisseur, November, iyf>8
IJNANTS (Haarlem ca. 1625 - Amsterdam 16X4) "Dune landscape with attack
ires are given to Philips Wouwfrman On canvas 38 < 46-5 cm. (142 by 18 in.)
travellers" Signed and dated: J. wijnant. 1667
Lit: Hofstfdf df Groot, cat. rais. vol. VIII, no. 293
CRAMER
THE HAGUE, HOLLAND - 38 JAVASTRAAT, TEL. 010 31 70 - 636770
Paintings by Old Masters
ST Evert van
ST Willem van
WERP Mannerist
:LYN Jan
KER Jac. Adriaen
>EN Barth. van
CHEM Nicolaes
FREN Abr. van
Hieronymus
H Andries
HJan
Y Jan de
KELENKAMQ.G.
IALETTO A. (pair)
CAPPELLE Jan van de
CUYP Albert (2)
FLINCKGovert
GELDER N. v.,attr.
( i( )( 1 1 1 \ inccnt \ an
GOVAERTS A.,attr.
GOYA Francisco de
GUARD! Francesco (2)
HEY DEN Jan v. d.
H EI M BACH Wolfgang
ISENBRANDT Adr.
JONGKIND Job. B.(2)
MAES Nicolaes
MASTER Ursulalegend
MIERIS Willem van
MOLENAER J. M.& K
MOMPER Joost de ( 2 )
NOGARI G. (a pair)
OSTADE I. v. (2)
PALAMEDESZ Anth.
PATINIER School
PLAES David v. d.
POELENBURGH C. v.
RAPHAEL Follower
REMBRANDT (2)
ROBERT Hubert
ROMBOUTS Gillis
RUBENS I* I' (2i
SI ( ,111 RS Heivulc".
STEEN Jan (2)
TERBORCH Ger. (2)
THIELEN J. Ph. v. (2)
TIEPOLOG. B.
UTRECHT Adr. v., attr.
VERBRUGGEN G .attr
VICTORS Jan
VLIETH.C. van
WEENIX Jan
WILLEMS Florent
WITJ.de, series (10)
WIJNANTS Jan
WOUWERMAN Ph. (2)
Supplement catalogue no. XV — 1968 available on request (air-mail postage overseas U.S. $1.00).
THE BRITISH ANTIQUE
DEALERS' ASSOCIATION
During the Jubilee Year we shall be illustrating Works of Art acquired
through members of the Association which have enriched Museum
Collections throughout the world.
John Fcrneley's "John, I Icnry and Francis Grant .u Mellon"' was acquired in 1967 by Leicester Museum and An ( iallcry
Painted on canvas measuring 52 77 inches and signed and dated I >>'2'.\ it is a fine example of Ferneley's work and adds
significant!) to the Museum's collection of sporting paintings.
Fcrncley, horn at I hrussington in Leicestershire in 1 7! was as a youth apprenticed t< > his father's trade of wheelwright,
hut he was inspired l>\ the Billesdon ( loplow run <>l 1HO0 to paint a series ol "hunt scurries" long rectangular pictures
depicting incidents in that famous 1 1 u i . These were brought to the attention < >l the 1 hike of Rut land w ho encouraged the
young artist to go to London where he w < irked with Ben Marshall, another I <eicestershire born sporting artist . Ret in ning to
Melton Mow l)i ay lie spent the test of I lis life painting sporting subjects with, at his 1 icst, a delicacy and grace which may not
i in j list K be compared with ( Jainsborough.
Sii Francis Grant, depicted here with his two brothers, was a member of the Meltonians, the most elegant huntsman
the Regency era. He is said to have studied painting with Ferneley, and in later years became a fashi< inablc portrait painter,
and President of the Royal Academy.
20 RUTLAND GATE, LONDON S.W.y oi-*89 4-28
The Connoisseur, November, 1968
. TERRY-ENGELL GALLERY
OMON VAN RUYSDAEL A Winter Scene Canvas, 30£ x 40J in. (77 \ 102 cm.)
attire: W. Stechow, Salomon van Ruysdael, 1938, page 69, No. 10. Signed and dated 1659
FINE OLD MASTERS PAINTINGS
ram Collection Illustrated Catalogue £1
8 BURY STREET, ST. JAMES'S
Phone:01-839 2606 LONDON SW1 Cables: Artengel. London SW1
A)
Adams, Davidson & Company, Inc.
3233 P Street, N.W., Washington, D.C. 20007 Tel. 202 : 965-3800
cam .is 2} injj ms
mcd lower Ic It
I'obaill \6$6
Coll: W. 1 1. Stewart
Bernard M. [ones
I a s [eux ilu Berger el dc la Bcrgcre
Camille-Jean-Baptistc
C O R C) I
Barbizon School
anil its Followers
Oct. 25 Nov. 30, i<X),S
Superb Queen Anne Walnut double-dome top Bureau/Cabinet, circa 1700.
W. R. HARVEY & Co. (Antiques) Ltd.
4 New Cavendish Street ^ife, 69 Cnalk Farm Road
LcndonWI 01-486 5919 m^k London NW1 01-485 1504
The Connoisseur Register Advertisement
WANTED
Fine Jewellery has appreciated rapidly in value. Cartier offer expert
advice for purchase and pay excellent prices. Strict confidence, of course.
Cartier Ltd.. 1 75 New Bond Street, London W.1 . 01 -493 6962.
Private Collector interested in offers of any prints, any general subject,
directly associated with the Bahamas Islands, including maps, scenic
views, past Governors, pirates, etc. Please apply P.O. Box 1624, Nassau,
Bahamas.
Wanted by private collector OLD EGG CUPS, silver, plate, porcelain,
glass, wood, prior to 1850. Write Anders Wiberg, Lundsbrunn, Sweden.
Wanted by private collector, early South Indian Bronzes. Write Dr.
Brochin 4663 Aarburg, Switzerland.
Rowlandson - Private Collector wants Drawings and Prints. Pinsof, 41
Oakmont, Highland Park, Illinois, U.S.A.
FOR SALE
Old Prints. Unrivalled selection on all subjects, also ORIGINAL
DRAWINGS, RARE BOOKS and AUTOGRAPH MANUSCRIPTS.
Callers by appointment only, telephone Ambassador 5439. Walter T.
Spencer, specialists since 1 856, 47 Upper Berkeley Street, London W.1 .
The famous Christmas Plates from Royal Copenhagen and Bing &
Groendahl for sale direct from Denmark. Older Plates also available.
HAGERSOE Plate Service, Postbox 231, Aarhus, Denmark.
Jan Van Huysum Painting. Panel 30 22i inches Flowers in vase
on marble pedestal. Bird nest Landscape background. Signed. Dated
1 723 Frame intricately and elaborately carved. Overall 39 • 30 inches.
Also exquisite English Landscape, 'Outside the Village Forge'. William
Shayer Senior. Canvas 10 14 inches. Pleasing cafe scene. Young man
and woman conversing. Signed. Dated A. Salles 1 891 . Canvas 37 23
inches. Summer evening. Woody landscape, cottage, figures, distant
mountain. Thomas Gainsborough, R.A Canvas 47 38 inches.
'Nymphs Dancing in Landscape.' Signed Val Havers. Canvas 24 36
inches Exhibited Franco- British Exhibition London 1908. Man-
chester. Glasgow. Colourful Dutch Interior. 'Peasants Playing Back-
gammon.' A. Brouwer Panel 14 17J, inches. Beautiful Highland
scene. Signed H. R Hall. Canvas 24 36 inches. Charming Landscape
Young woman seated, child, attendant cherubs F. Boucher. Panel 17
131 inches. 'Flatford Mill On the Stour.' Signed. Dated. J. Constable
1812 Panel 12^ 17 inches 18th Century Portrait. 'Richard Brinsley
Sheridan ' Seated Full length Canvas 50 • 40 inches. Offers invited.
Seen only by appointment Letters S.A.E. William Bryant. 1 5A Queens-
land Road, Bournemouth.
Geo. I Fruitwood Side Table, small proportions. Chelsea, Wor-
cester, Swansea, Derby Porcelain 'Tradewmd'. Little Crescent,
Rottingdean
Antique Silver. Collectors' and Investment catalogue free. A K.
Poole, South Thoresby. Alford. Lines.
Old Maps and Prints. Catalog ues of County Maps, Decorative aps.
Old Views of all parts of London and British Isles, also Foreign aD!
obtainable on request (1s. 6d.), from - Brian J. Page (Prints and I ps
'Hill House', 24 High Street, Billericay, Essex.
ARCHAEOLOGY
MUSEUM MESOPOTAMIA sells famous Byzantine Mosaics, 6tl Cen-
tury Antioch. Beirut, Lebanon, Khalil Pasha Street.
EXHIBITION
'Painting from Nature'
Exhibition at Spink,
5-7 King Street, St. James's, London S.W.1.
Opens 19th November until 6th December.
Monday - Friday 9.30 a.m. - 5.30 p.m. Saturdays 1 0 a.m. - 1 p.rr
PREHISTORY
MUSEUM MESOPOTAMIA sells Prehistoric Fish Fossils lnstr|tive
decorative, exciting. Beirut, Lebanon, Khalil Pasha Street.
SITUATIONS
Responsible woman, leaving for permanent residence in I nc;
July 1, 1969 is seeking connections with a firm doing busir s ■
France. Varied experience in managerial, secretarial and purchasing ith
following lines: Interior Furnishings, Antiques and Objets d'Art, m:
and Lighting Fixtures, Hand Mades of various types. Bilingual (Fi ch;
Economics major in college with working knowledge of Stock f- rke
Specializing in Mutual Funds. Capable of full responsibility aloilth
lines of: personnel, purchasing, public relations, liaison or manag ien
Familiar with Paris and environs. Many personal contacts. For rthe
specifics write: S. T. Campbell, 382 Grand Boulevard East, [ troi
Michigan 48207, U.S.A.
MISCELLANEOUS
Cameo Corner, 26 Museum Street. W C 1 . Tel: 01 -636 0401 , fttbi
for antique jewellery, now invite you to their Annual Exhibition c'Mei
Design, 12 Nov. until Christmas. Open 9-5 (Thu. 6.30) anc Dei
Sats. 9-1 .
Books on all Branches of Art and Architecture. Catalogues i uei
send 1 /- in stamps, overseas customersnocharge. Collections pure sei
FRANCIS MARSDEN, A B A.. 59A King's Road, Chelsea, London A'
(Postal business only )
Antiques We are in a position to undertake the repairing i fii
furniture KEEBLE. LTD . 20 Welbeck Street, W.1. Tel: Welbeck 0' 3
Register advertisements are 21- per word, minimum CI .6 0 for 15 "
which must be prepaid and sent to the Advertisement Managei Jh
CONNOISSEUR. CHESTERGATE HOUSE. VAUXHALL Bl I
ROAD. LONDON S.W.I (Victoria 2331) Addresses or Box Ni I
must be inserted and replies to the latter should be clearly marke m
the Box Number The Proprietors of The Connoisseur acce i
responsibility for any sales effected.
1 In- Connoisseur, November, I9«H
I XIV
LAIS GALLIERA - AUCTION SALES IN PARIS
(J
AUCTIONEERS
12, RUE FAVART - PARIS
742.68. 23
Monday, December 2nd, 2.30 p.m. and 9 p.m.
OBJECTS OF ART AND FINE XVIIIth CENTURY
FURNITURE
BRONZES AND FRENCH SILVER
CHINESE CERAMICS AND WORKS OF ART
Very rare tureen, with the arms of MacDonald ofSle.it
Paris - 17S7 - by Henry Auguste. Height: 34 cm. Length: ss cm.
Experts: Messrs. 15. and J. P. DILLEE, G. PORTIER and H. I). FROMANGER
Exhibition: Sund ly December rst, from 2 to 6 p.m. and from 9 to 1 1 p.m.
Complete calendar of Monthly Sales free on request
Individual Catalogues »i n Subscription: 12 rue Favart, Paris-2e
1 x\
PALAIS GALLIERA - AUCTION SALES IN PARS.
% Adei«^Rcai<p
AUCTIONEERS
12. RUE FAVART - PARIS
742.68. 23
Thursday, December 5th, 9 p.m.
IMPORTANT MODERN PICTURES
DRAWINGS - SCULPTURES
Edgar DEGAS - "Danseusc an corsage jaunc - Pastel. Height: 70 cm. Length: 52 cm.
Experts: Messrs. Ch. I )l IRANI >-RUEI . V [>AC1 I I I
Exhibition: Wednesday, December 4th from y to 11 p.m. and fhursday, December stli from to a.m. to 6 p.m.
Complete calendar of Monthly Sales free 011 request
liuliviilu.il Catalogues, or on Subscription: 12 rue Favart, Paris-2c
lh. t luinoisseur, November, iv'»s LXVI
)
1
LAIS GALLIERA - AUCTION SALES IN PARIS
T ADEF^eg PlCARD
AUCTIONEERS
12, RUE FAVART - PARIS
742. 68. 25
Saturday, December 7th, 2.30 p.m.
Estate of M. and Mme ANDRE CARLHIAN
and property of various owners
OBJECTS OF ART AND FINE XVIIIth CENTURY
FURNITURE
SCULPTURE - PAINTINGS
Experts: Messrs. J. LACOSTE. B. &J. P. DILLEE. O. LEFUEL, T. CATROUX
Exhibition: Friday, December 6th from 10 a.m. to 6 p.m. and from 9 to 11 p.m.
Complete calendar of Monthly Sales free on request
Individual Catalogue o n Subscription: 12 rue Favart, Paris-2c
c5\(j)e\Y York's particular
style of 1760-75 is seen in this
mahogany "kneehole buroe"
with rounded block-front
drawers and claw feet. Exhi-
bited Furniture of New York.
Cabinetmakers, Museum of
the City of New York in 1957.
Ginsbur;
Levy
.-1 // 1 1 i] it a r i n s s i ncc I 90 I
815 Madison Avenue
New York, New York 1002 1
Telephone: RH 4-1352
Paul Sturr round soup tureen with stand, bearing Town-
send coat ot .irms. London [Soy, Weight 310 ozs. Overall;
diameter i s ins., height 1 4 .', ins.
ARPAD WTIOl ES, INC
3125 M Sim 1 1. N.W., Washington, D.( .
.-Irr.i code 202-FE 7-3424
EXHIBITION
OCTOBER 15
NOVEMBER 15
RECENT
PAINTINGS
GALERIE SAINT-LUC
3, Rue de Miromesnil (Place Beauvau)
PARIS
1
I XVIII
LXIX
El i
JohnKeil
154 Brompton Road, London SW3
Kensington 0454 (Mies: Keilantig
Member oj the British Antique Dealers' Association Ltd.
A fine quality Chippendale period mahogany pic-crust
770. Height _' ft. bh ins.. Diameter 2 ft. 5 ins.
9 Quiet Street, Bath Bath 63176
AN IMPORTANT EXHIBITION
of
ICONS
in the Pyx Room
WESTMINSTER ABBEY
November 27 1968 to January 27
arranged by THE GRECIAN GALLERY
The Connoisseur, November, \<>M
I XX
BROD GALLERY
JOOST DE MOMPER (1564-1635)
Old Masters Galleries
ii i m:i hukack nnl.AM) hi i \ mn 1 i
Mill Lifi
Canvas Jn; in. (53
I II I U \ I I HI \l I Mil "LA NATURE MORTE E
Winter Exhibition of Fine Old Master Paintings
Opening 1st November 1968
62 SOI !| AUDLEY STREET DAILY 10 a.m. - 5
MAY FAIR. LONDON, W1Y 5FB s vl l RDAYS „ a m<
Telephone: 01-629 0223
Butt's of Chester
Three examples from our stock of Chester silver. The christening mug was made on
our premises in 1751 by Richard Richardson, whose father founded this business in
1703. The pair of Goblets standing 6i in. high was made by Robert Green at the end of
the 18th Century and the beakers, 3 in. high, were made by Robert Boulger during 1802.
You are cordially invited to visit our
17th Century Oak Room where a large and interesting
collection of antique silver can be seen.
Butt & Co. 32 Eastgate Row, Ch Established in 1703 by Richard Richardson
LXXIII
Francesco Rizzo da Santacroce 1485-1545 (Signed) 'Adoration', Venetian School Panel, 45 31 in. (1 13x77 cm.
An important painting of the period reproduced in Berenson's 'Italian Pictures of the Renaissance
Venetian School' Volume I, Plate No. 571. (Documentation verifying the authenticity available)
Inquire Box No. 7436, The Connoisseur, Chestergate House, Vauxhall Bridge Road S. W. 1
GREGORY & CO.
(BRUTON STREET) LTD. ESTABLISHED 1X2)
Telephone: May fair 2'ioS/v/o, 2066
27 BRUTON ST., BERKELEY SQUARE
LONDON, W.i
Telegrams: Gregco, Wesilo London
ANTIQUES
F V R N I T U R E
U P H O L S T 11 R V
CURTAIN S
C A R P E T S
CHANDELIERS
DESIGNS & SCHEMES
B OA R D R O O M S
DIRECT( 1 US' SUITES
D E CO R A V / O N S
ELECTRICAL WORKS
H E A 7 / N G
I' A l.U A T ION
A rare Queen Amu- hl.uk lacijuer decorated stool
cabriole legs terminating in pad feet. *. 1710.
Tile Connoisseur, Ni>vunl>u. i'/>s
I XXIV
JJCTION SALE IN PARIS, PALAIS GALLIERA
Monday, December 9th, 1968
VERY IMPORTANT MODERN PICTURES
14UM^m^k^r" -r m.*^~ ijgn
tMBL^.'- -la*. ...
Eugene BOUDIN "Camaret, le Port". Canvas, signed and dated 72. 54 x H9 cm.
Mes Rheims & Laurin
AUCTIONEERS
1 RUE DE LILLE, PARIS 7c Tel: 222.61.90
Private viewing can be arranged prior to the sale
6 bis rue des Saints-Pf'Tes, Paris-7e from December 2nd to December 6th
Public exhibition: Palais Galliera, >ccember 8th from 9 to 11 p.m. and on December 9th,
from 10 to , n. and from 2 to 6 p.m.
LXXV
GENEVIEVE AYMONIER
PARIS
Old Master Drawings
13 RUE DES SAINTS-PERES, 6c Tel. 222.26.61
PICTURE LIGHTS
SPL.3
Enjoy the beauty of your pictures
and add to the interest of your home
by installing "SPL" Picture Lights.
5 models from
55/3
Efficient, yet
unobtrusive ,
they are fixed in
a moment to the
back of the
picture frame
and are ready
for connection
to a nearby
electric point.
complete with lamps
Obtainable from all leading Electrical Shops Send for free Colour Leaflet 1 0 -
LINOUTE LIMITED Sales and Export Departments,
1 142. Liverpool Rd, London N.I. Tel: 01*607 0072 (4 lines)
RALPH McCORMICK
An interesting Silver Salt Caster: London 1762. Maker:
William Cripps. 10 in. hi.sh, base 4 * in. wide. 21 02.
Inscribed under the royal arms of the Prince of W ales.
Salvs Pt'r Christum Redemptorm, Servabs FiJem S<ms
Cltanger. Tuum ISst 1 722.
The future Prince Regent (Georsje IV) was born on
August 12, 1762.
=,9 SOUTH AUDLEY STREET
GROSYI NOR SQUARE
LONDON W.l
01-493 4350
HENRY SPENCER & SONS
ESTABLISHED 1840 FINE ART AUCTIONEERS
15 EXCHANGE STREET. RETFORD. NOTTS. (2404 2205)
COUNTRY HOUSE SALES
Nov. 19 The Contents of Fledborough
Manor. Notts.
Nov. 21 By Order of the Right Honourable
the 21st Earl of Shrewsbury and Waterford.
Bowgage Farm. Grindley. Staffordshire.
The remaining contents of Ingestre Hall
(removed for convenience of sale).
Fine Georgian Furniture.
The superb Porcelain Service made by Robert
Bloor of Derby for the 17th Earl.
Persian Rugs. Books. Works of Art.
Illustrated catalogues 4 - post free
General Offices at.
20 THE SQUARE. RETFORD. NOTTS. 2531 (4 lines)
3 ST JAMES ROW. SHEFFIELD. 78804 (II l.ncs)
91 BRIDGE STREET. WORKSOP 5ISI (3 lines)
ALLIANCE HOUSE. KIRKGATE. BRADFORD 29327 (3 I
31 OSWALD ROAD. SCUNTHORPE 4852 (2 lines)
4 GEORGE STREET. GRIMSBY. 58591
75 WRABY STREET. BRIGG. 3352
AUCTIONEERS. VALUERS. LAND AND ESTATE AGENTS
. XXVI
MM
ration :
lid 18 carat gold decanter
jned and created by
ALD BENNEY
miscent of linen-fold carving,
piece is hand-chased - an
avement of craftsmanship
:h is outstanding
<e history of English silver
oiece was the winner
ie Jacques Cartier
norial Award
) illustrated
sr pieces in gold by Gerald Benney
November 13 - November 29
Special Exhibition
Gerald Benney
English Goldsmith
Limited editions of his latest designs
in gold and silver
.UTLAND GALLERY 29 BRUTON STREET LONDON W.i
01-629 0303
The Halhboroush Gallery
IMPORTANT OLD MASTERS
143 NEW BUND STREET. LONDON. W.l. Tel: 01-499 1923
W. BARRETT & SON LTD.
Established 1840
SPECI ALISTS IN
ORIENTAL CARVINGS
IVORY
JADE
HARDSTONE
We undertake
restorations and repairs
9 OLD BOND ST_ LONDON, W.l
Tel: 01-493 1996
Antique Silver HARRY
Sheffield Plate CHERNACK
Antique Jeweller} of Edinburgh
85 ROSE STREET PHONE 031-2:5 3038
Oskar
Kokoschka
FRITZ SCHMALENBACH
Oskar Kokoschka is one of the greatest artists of
the present day. His paintings have been a revelation
tomorethanone generation
As a painter, he possesses the gift of representing
the spiritual element in nature. His 'transparent'
portraits penetrate into spiritual-psychical spheres:
his landscapes and paintings of cities are 'sections
of the world', atmospheric-terrestrial visions.
Dr Fritz Schmalenbach is specially qualified to
make the present appreciation of the artist and
this very careful choice of representative paintings,
by reason of his association for many years,
with Oskar Kokoschka and his work. His text is the
product of profound aesthetic scholarship. Its aim is
to lead the reader to the clearest possible recognition
of the formative elements forcing their way to ex-
pression in the artist's work
Profusely illustrated 25s
ALLEN U UNWIN
%
O
0
©
COINS
AND
S COLLECTIONS PURCHASED
write giving details to
R. A. FARRINGTON
Silverdale
Hoyles Lane
Lea
PRESTON, PR4 OLD
i
i
i
1
I XXVIII
From our < m rem bro< Inn e entitled
'SCULP 1 L K 1 . I < )R A SMALL Ml SKI M '
including bronzes and other wi a ks ol the
16th-19th i enturies. I i .mi collei Lion.
The full)- illustrated and dm umenled
catalogue is still ,i\ ailablc.
price S2.00. post p. ml.
BERNARD BLACK
GALLERY
American
paintings and drawings,
sculpture of various schools
including 'Les animaliers'
BERNARD BLACK.
HUGUES-W. NADEAU
1062 MADISON AVENUE,
NEW YORK, N.Y. 1002S
TR 9-2171
Antonio Pisano (called Pisancllo)
Italian, c. 1397-1455
FILIPPO MARIA VISCONTI, DUKE OF MILAN
Circa 1111. Bronze medal will) warm blown patination; 1). 101 nun.
A superb example of tile first and greatest ol the P.enaissaiK e
medallists. The reverse depicts the mounted Duke riding with a page
and a knight in a mountainous landsi ape.
Exhibited: Developments in the Early Renaissance. State University An
Gallery. Binghamton, N.Y., May I'll)!'.; eat. no. 2.'. illd.
( )ther c asts are in tin Vi< toria and Albert Museum, the Louvre,
the National Gallery, the Museo Nazionale (Bargello), among other
major collections. Ret.: Hill's Corpus oj Italian Medals .... 1930,
no. 21 ; Sindona-/>ua««Z/o, 1961. p. 43; eli .
LXXIX
HOW
c
iHOW OF EDINBURGH
ONLY ADDRESS
PICKERING PLACE, ST. JAMES'S STREET
LONDON S.W.i
LAING ART GALLERY
NEWCASTLE UPON TYNt
PAINTINGS FROM THE
LEATHART COLLECTION
An exhibition of works by Pre-Raphaelite
painters and their associates, including
Madox Brown, Holman Hunt, Millais,
D. G. Rossetti, Hughes, Martineau,
Deverell, S. Solomon and A. Moore.
From the collection of James
Leathart who died in 1895.
On view: 7th October - 18th November 1968
Admission free: catalogue 5s.
MINTON POTTERY AND PORCELAIN OF
THE FIRST PERIOD 1793-1850 Geoff re\ A.Godden
- -
HANDBOOK OF BRITISH POTTERY AND
PORCELAIN MARKS
VICTORIAN LACE Patricia Wardk
\
porary
-
INVESTING IN ANTIQUE JEWELLERY
INVESTING IN POTTERY AND PORCELAIN
Hugo Morley-Fletcher
Each 12 8h :>:cha. tsith over 200 black and tskite photographs id
-
Investing in Clocks and Watches
Investing in Silver
Extrer
duced, lavishlv illustrated, admirablv writt wn
:ntent ir.i sr. wledse ' Hou ■. jkJ Garden
MUSICAL INSTRUMENTS IN ART AND HISTC
Professor Ro°er Br agar d and Dr. F. J. de Hen
Translated by Bill Hopkins
An encyclopaedic histcry of instruments and their makers, glc <
illustrated from the treasures of the Miuee Instrumental de Bri
probably the greatest collection in the world.
•Finely produced . . . there are illustrations as diversified as rarec !
keyboard instruments and Duke Ellington at the piano.' 3
Educai
284 page; including 119 colour plates tsith 53 line drawings in text. 1
Introducing a netc series The Collector's World in Colour
COLOURED GLASS Derek C. Davis and Keith Middlt
Traces the development of coloured glass in this country fr,l
first Roman imports to the brief period of Art Xouveau.
The 96 pages of superb illustrations in full colour show in me
detail the growth of English craftsmanship in coloured glass f:
u.
Richard Ft
14th to the end of the l^th century -
SILVER BOXES EricDelieb
Includes any receptacle unless it is a vessel in the genus '1 x
long as it possess a lid. hinged or otherwise. Presents a con fct-
new approach to ornament: by applying comparative anal; 8
author ha-> evolved a startling theory about engraved decora w.
•
Barrie & Rockliff : The Cresset Prss
e $ere, Ml
MADISON AVENUE, 16TH FLOOR
NjW YORK, N.Y. 10022
2) 628-3430. By Appointment
LOUIS XIV FRENCH DESK
IN THE TRADITION OF ANDRE CHARLES BOULLE
LXXXI
IMPORTANT ORIGINAL PRINTS
FOR MUSEUMS & COLLECTORS
Now available: Fully illustrated catalogue,
126 pages, over 300 items, listing prices:
-4.00 (Airmail $5.00).
Through December: Rotating exhibitions
of works featured in the Catalogue.
PET Ell II. DE1TSC II <; VELEKY
MUNCH Self portrait Lithograph. 1895 Schief let- 31
18th-Century French Antiques
i
- -
Transition I <>iu\ \ i ■ \ \ I (jtnnjti'. ftninted frame,
i i rw li llttli ( enttirv. ~i II. H in. long. 2d in. deep.
CHARLES C. PATERSON
746 Madison Ave, New York, N.Y. 10021 • UN I -1 666
Member \n and Antique Dealers League of America
National Antique and Art Dealers Association of America, Inc.
Farly Chinese White Jade snuff bottle, Peach-form,
showing blossoms and foliage carved in high relief with
fully undercut intertwining stems forming the base. Well
hollowed. Coral stopper and fitted 'osewood stand.
Height including stand, 3,:,G in.
FINE SELECTION OF RARE CHINESE
SNUFF BOTTLES, including HORNBILL
Collections purchased
'pact
MAINLAND, PENNSYLVANIA 19451
(19 mi. from Phila. at Lansdnlc Exit of Pa. N.E. Extension)
By appointment please. Phone (215) 723-3949
I XXXII
DIAMONDS Set in
Platinum and 18KT Gold
<TRITT
424 Park Avenue
(Between 55th and 56th Streets)
New York City, N.Y. 10022
IMPERIAL JADE
MINING, INC.
1
54 POUND SOLID JADE TABLE TOP, $100 PER POUND
Occasionally large pieces of jade are found among the smaller jades in our deposits. When this occurs, we use
them for one of a kind objects of art. This is only one of several currently available. Pieces range from $20.00 to
$2,000.00 per pound. Table weights range from 1 j to 2 jo pounds. We also offer the connoisseur the following
items. Each one of a kind. Each individually commissioned.
Mausoleum
Hand-Carved Pulpits
Baptisman Founts
Corner Stones
Monuments
Sarcophagus
Statues
Corporate Crests
$10,000 to $25,000,000
$5,000 to $300,000
$j,ooo to $50,000
SjOO tO $I£0,000
$3,000 to $1,000,000
$100,000 to $400,000
$10,000 to $500,000
$1 ,$oo to $10,000
Family Crest
Table Tops
Desk Tops
One of a kind doors
and panels
Achievement Awards
Jewelry
Floor and Fireplace Tiles
$ 1 , 500 to
$800 to
$500 to
$1 ,000 to
$500 to
$10,000
% 50,000
$25,000
$2C,000
Special Quote
Special Quote
e Jade boulders in natural form are offered to the collector. Trades of genuine Jade for hardstone carvings,
ious stones and objects of art, are always considered. Special commissions solicited. By appointment only.
Russell H. Under dahl, Pres.
Imperial Jade Mining, Inc.
2J10 'Nicollet Avenue, Minneapolis, Minnesota 55408, U.S.A.
Phone: 612-827-5481
NEWHOUSE
GALLERIES, Inc.
Established 1878
15 East 57th Street, New York, N.Y. 10022
(212) PLAZA 5-4980
LXXXV
XVI-XX Ccnturv Works of Art in bronze and other media
BOY WITH A MING
b\
sir William Reid Hick. R A
Green parinated bronze on
green marble bjse. Signed
W. Reid Dick and dated l<;i I
Height overall 26i inches
406 KINGS ROAD LONDON S.W.io
FLA 4400 and 5243
KM,. Ol MEL
ESTABLISHED 1907
LIMITED
AXDKADE
Rare 1 9t r> c primitive colonial Oil painting on canvas
Overall dimensions 46 in >41^in including frame
8 BORING DON VILLAS, PLYMPTON
PLYMOUTH, DEVON
Plymouth 37952
ENGLISH CERAMIC CIRCLE
TRANSACTIONS
Volume 7 Part i 1968
This pan which has just been published contains 86
pages of text and 244 halt-tone illustrations.
Papers include - I w o Centuries ot China Selling. b\
Beiii Hillier: The Herculaneum China and Earthen-
ware Manufactory, Toxteth, Liverpool, by Alan Smith;
Polychrome Caughley Porcelain, by David Holgate ;
The Chancellor, on a Battersea Enamel, by litrnard
W'atney; The King, The Nun and other Figures, by
Bernard W'atney; The Early Pottery of Swansea, by
11. j. Grant-Davidson.
I his part is now to be had from \V. J. Mackay
Limited. Fair Row . Chatham. Kent. Price £4.10.0.
STOLEN
Dessert set ru R. L. Stone. Coronation mark 1953
The above silver along with a quantity of other silver an
plate was stolen on 15 16th September, including sala
servers, table-ware and Candelabra and other items. .
reward of £150 will be paid subject to the usual condition
Information should be sent to ( entral Police Office, Holto
lei. No. 224(>b
i XXXV!
CHARLES WOOLLETT & SON
(Members of I he B. \.l>. \. I l.l.l
59/61 WIGMORE STREET, LONDON W. I H 9LF
Established IHH'i
I'lwnr 0I-V3.1 Hut, I
Antiques, Furniture
and Works of Art
PACKED &
SHIPPED
to all parts of the World
OVERSF.AS HOUSEHOLD REMOVALS
GANDER & WHITE LTD
Head Office:
25 CHEVAL PLACE, BROMPTON ROAD, LONDON S.W.7
Telephone: KNIghtsbridge 0646-8
' / lappy and kumji
I shal! be
Gander and White
htm packee me '
Packing
Warehouse:
[ .press Place, Lillie Road, S.W.6. Telephone: FULham 0309
CHINESE
Collet's
GALLERY
CHINESE STONE RUBBINGS
from ancient temples and buildings
40 Great Russell Street, London, W.C.I.
(LANGHAM 7538)
ft* /fCfM
C // o //</j&?j
4J S/k»t &U>n W?
H . k Park 47 1 1
Hal O'Nians
Dutch • Flemish ■ Italian Masters
6 RYDER STREET. ST. JAMES'S, LONDON, S.W.I
WHItehall 9392
Rupert Preston Ltd.
17 KING STREET. St. James s. London S.W.I. 01 -930 1794
Specialists in 17th and 18th century
Seascape Paintings
♦fr GARRARD The Crown Jewellers
will purchase at highest prices antique and modern
jewellery, silver and period clocks. A valuer will call
to view larger pieces or collections.
GARRARD The Crown Jewellers
ill REGENT STREET. LONDON. W.i. TELEPHONE: REGENT 7020
ATTRACTIVE 19th CENT. PAINTINGS
FOR SALE
Joseph Thors, Charles Venneman, John Varley,
A. A. Glendenning. William Mellor, etc.
Phone: 01 -435 1476 (day) Spe: 9344 (evening) or BOX 7435
MEISSEN— originally modelled in the eighteenth century, freehand
painted by master craftsmen, Meissen porcelain figurines bearing the
world-famous mark of the crossed swords are now available in this
country. •
Holborn Tableware Co. Ltd., 36 Hatton Garden. London, E.C.I.
Telephone
212) 249-5053
MICHAEL HALL FINE ARTS
IN CORP OR VTED
6 EAST 79th STREET. NEW YORK. N.Y. 10021
By appointment only
Cable Address
M 1 K HALL ART
ADONh f Hunt,
by or after NICOL \S COL S I Ol
Height 14\ inches
Bronze reduction of the marble group by Coustou {signed and dated 17 It)).
in the Louvre.
Now in the exhibition 'THE FRENCH BRONZE, 1500-1800'
at M. KNOEDLER & Co. Inc. NEW YORK.
NOV. 6th thru 2~th, 1968.
HENRY JACOBS
FINE PAINTINGS
Isidoor Verheyen. Signed. A view of Haarlem.
Canvas size 2U 25 ins. Framed size 26f 30 ins.
1 FROGNAL PARADE, FINCHLEY ROAD, LONDON N.W.3
TEL 01-435 1140/3311
mildred friedman's
331 1 West McNichols Rd.
Detroit. Michigan 48221
tel: (313) Dl 1 5182
iiusual Christmas gilts :
Plate Black ii. in. In oil yellow ground .
Ihinese Kxporl Vase I I in. high (Blur on while
Slirrup ( 'up in Sail gla/.e.
Iiincse Kxporl Inkwell (Blue on white
Strasbourg Nidcrvillci Standish (Multi-color).
hine.se I'.xpoi l Teacaddy (Blue on white).
nick mi liiisi ill Wesley (Black, gray and while).
mils \\ I Period Miniature Commode.
Staffordshire Inkwell.
Pair llilslon ( i.inillrslK ks.
drian galleries
until November 1 5
IMebojsa MITRIC
E. H. CRAWFORD
November 19 - December 6
Hansi BOHM
sculpture
paintings
paintings
5-7 porchester place marble arch london W2
pad 9473
OMELL GALLERIES
FINE 19th and 20th CENTURY PAINTINGS
AT REASONABLE PRICES
22 BURY STREET, ST. JAMES'S, S.W.
639 4274
EDWARD SPEELMAN LTD
Old Masters
EMPIRE HOUSE, 175 PICCADILLY
LONDON Wl V ONP
01-493 0657
CRANE ARTS LTD.
321 Kings Road, London, S.W.3 FLA 5857
Tues. -Sat. 10-6
Early English and American Primitive Paintings
Modern Naives • Bizarre Antiques
SABIN
GALLERIES
4 Cork St., Bond St.
REGent 6186
specialists in
paintings and drawings |
of the Georgian era
THE TRYON GALLERY LTD
41-2 DOVER STREET, LONDON, W.i HYDE PARK 5161
Sporting and Natural History pictures
English 18th and 19th Century
Watercolours and Drawings
Restoration Valuation
58 Jermyn Street, St. James's
London, SW1 01-493 4496
GRABOWSKI GALLERY
84 Sloane Avenue London SW3 589 1868
Paintings by :
TERRY SETCH ALAN WOOD
October 1 - November 29
Open Monday - Saturday 10-6
E In. 1 in 1111 <ism ur, November, n/18
xc;
! Exhibition
Dutch and Flemish Paintings
November 1968
l\\ V AN DER IIKVDliiN (Gorkum 1M7 17 12 Amsterdam)
I I ieu in a Dutch Town Panel, H>J 23 J inches (II I 590 nun.) Signed
PRO\ liNANCE: Collection II. Bingham Mildmay, 1893. Collection of the Prince of Liechtenstein,
V ienna.
EXHIBITED: Lucerne, Kiinst museum, 'Masterpieces from the Collections of the I'rinre of
Liechtenstein', 1948, number IKS. Birmingham City Museum and Art Gallery,
1962-1967.
PI BLISHED: W. Bode, Die Furstlich Liechlensteinsche Gemaldegalerie, 1896, p. 101. C. Hofstede
de Groot, Catalogue Raisonne etc. volume VIII, 1927, number l(>7. V. Kronfcld,
Fuhrer durch die Furstlich Liechtensteinsche Gemaldegalerie in Wien, 1931, page
183, number 909.
Illustrated Catalogue/ two dollars
H. Shickman Gallery
929 Park Avenue New York 10028
Tel: (212) 249-3800
XCI
KENNETH BROWN
JEWELERS • ASIATIC ART
INC.
-7
l'AN(. tomb warrior (618-907 A.D.). 27i inches high.
Unglazcd but with traces <>t color. Standing with lists
c lint lied in .1 gesture <>l protection.
/ ; / / Prospct I St.
La Jollii, California 92037
Box 111
AUCTION S ALE
One of the world's largest and
finest collections of
BAXTER
PRINTS
The collection of
THE LATE WALTER H. MILLEN, ESQ.,
FORMERLY OF STANDISH HALL,
HULL, QUEBEC, CANADA
To be sold at the Ward -Price
Galleries, Toronto
Includes examples of practically every known
Baxter print. Free numbered lists of about 400
sale items, with descriptions, now available. Lot
numbers will be those used in official illustrated
sale catalogue.
ON VIEW: November 10, 11, 12
SALE: November 13 and 14
(3 sessions)
(Sale continues through November 22 with antique and
period furnishings and other collectors' items.)
WARD-PRICE, LTD.
AUCTIONEERS
28 College Street, Toronto, Ontario, Canada
Telephone 41 6-923-9876 Cables WENOBEN
Netsukes—
a collection
by the masters.
The ( onnoisseur, November, n/>8
XC II
■
William and mary silver gilt salver-on-foot.
vlaker's mark r. c. (jackson's page 139) london 1691.
5iameter: 12*". height 3**.
[he arms are those of cradock, quartering newton, for a
descendant of sir richard cradock, chief justice of england
it the time of edward iv. he changed his name to newton and
gis descendant, sir john newton, of barrs court, co. gloucester,
fas created a baronet in 1660; and this salver, which bears the
irms in a lozenge, would appear to have been made for one of |
ps six daughters before her marriage.
ANTIQUE DAGHESTAN
Size 2.0 ■ <,. 2
I his outstanding prayer Daglicstan enjoys
an overall serrated cross field with palm-like
configurations to each side of the prayer niche.
I nclosed within the niche is the Caucasian
comb atop the square sometimes referred to .is
"' 1 he I louse of Prayer". Adorning the top of
the rug is .1 row of animals.
Mark Keshishian & Sons, Inc.
~. ORIENTAL RUGS —
4213 CONNECTICUT AVE., WW.
WASHINGTON. D.C. 20008
Tel. 202 EMerson 2-1600 • 202) Lincoln 7-2000
WILDENSTEIN
YVES BRAYER
WATERCOLOURS
20th November- 14th December 1968
147 NEW BOND STREET, LONDON, W.l
Telephone: 01-629 0602
The < iiiiniMssmr. November, i</>8
xnv
li.ilr.inu Diverting The Jumna. Basoli, circa 1725. Height: 6g inches
DORIS WIENER GALLERY
VNCIENT AND PRIMITIVE ART ■ 831 MADISON ^VE.. N.Y. 1002] TEL: 249-6750
IMPORTANT CANADIAN AND
FRENCH PAINTINGS
WALTER KLINKHOFF GALLERY
1200 SHERBROOKE ST. WEST MONTREAL, P.Q.
XCV
Jeorgian mahogany
bureau, light
brown colour.
Fine condition.
England, circa 1780.
Height 42",
width 40",
depth 20".
Wakefield-Scearce Galleries
DIRECT IMPORTERS
FRANCHISED DEALERS FOR DOUGHTY AND
BOEHM BIRDS AND CYBIS PORCELAINS
C We welcome your requests for specific models)
Member ot the Art and Antique Dealers League of America, Inc.
( >pen every day 9 a.m. -.5 p.m. Closed Sundays. Telephone: (502 ) ME 3-43H2
Visit our Subterranean Silver Vault
HISTORIC SCIENCE HILL, SHELBYVILLE, KENTUCKY
on BOTH main roatls (U.S. fit) and I-R4) between Louisville and Lexington
WANTED
TO DUY
Fine
American
Antiques
HARM ARONS
Dealer to the discriminating for more than fifty years
615 Krooklawn Avenue, Bridgeport, Conn. 06601
Ily Appointment Only. (203) 333-7468
Portrait Medallions
II m, Shakespeare., David Garrick, Senj. Vranklin^ and
others in assorted colors otul in excellent condition. From
a recent acquisition of 18th-century items which also
includes urns, plaques, busts.
Monti
W Klx.W OOD
473 West I Itct Street
Philadelphia, Pennsylvania 19119
(215) CH 7-2062
1 In ' mmm r. NovcniliiT, H/M
X( VI
Second Men York Exhibition
November \ 2 through December 7, I'Hiii
Kennedy Galleries
FOUNDED 1874 * BY H. WUNDERLICH
20 EAST 56TH STREET . NEW YORK 10022
PETER MACK BROWN
1525 WISCONSIN AVENUE, N.W.
WASHINGTON. D. C.
A pair of Louis XVI cassolettes
of well chased gilt bronze and marble.
French, late eighteenth century.
Height ioi inches.
CABLES:
'ANTIQUES'
WASHINGTON, D. C.
AREA CODE
202
FEDERAL 8-8484
X( VII
i
Established 1 Sj 1
VOSE...
ual/eries
of Boston 1 nc
238 Newbury Street, Boston, Mass.
( 617) 536-6176
James E. Buttcrsworth
9 > 13 inches. Signed lower ri^ht.
Agents for the estates of
WILLIAM S. IK )RT( >.\
and MAXFIELD PARRISH
ANTIQUE ORIENTAL RUGS
Outstanding selection of rare pieces in room
size, small size or runners. Collector's pieces.
CAUCASIAN
KAZAK
( ABISTAN
( UBA
I >AGHESTAN
I IK III
" ABAGH
TURKISH
GHIORDES
KULA
OUSIIAK
HEREKE
BF.RGAMO
LADIK
phrsian
46 years of dealing
KERMAN
SEHNA
KASHAN
TABRIZ
FERAGI IAN
SHIRAZ
Antique Oriental Rugs
TURKOMEN
TEKKE
AFGHAN
SAMARKAND
KHIVA
KHA( 111. I
R R Markarian
c/o A. B. Closson Jr. Co.
4th & Rate Streets
Cincinnati, Ohio 45202
513-621-1536
Restoration
and conservation of the antique
Bronzes Ceramics Enamels Ivories
Jades Marbles Tortoiseshell
Snuffs Motrier-of-Pearl Buhl
Ormolu Obiets d'Art Furniture etc
G. Garbe
restorers to the leading museums
23 Charlotte Street W.1
Founded 17/0 Te\ : MUSeum 1 268
EXPORT TO EUROPE BY ADVERTISING IN
1969- 1 970
T II I': GUID K EM i; It
To appear March 1969
EUROPE'S LEADING DIRECTORY
now being prepared
Ml, 000 iiuuira nud addresses of Antique Deulcrs, Picture Cullcrics,
M.uki I". I'l V III 1*1 1 iniih rluhhlllril in Ciilintrie*. (ilirn. Towns,
Street ninl Specialities. 1,100 pages.
Pre-publication price 56/- Great Britain and Ireland, |><im paid
Advertiaing lieiaih and rate* availabte from:
G.& F. GILLI NGH AM (ANTIQUE DEALERS AND EXPORTERS)
4 CREDITON HILL. HAMPSTEAD. LONDON, N.W.6
Telephone: 01-435 S644
EVERYBODY'S KEY TO THE TREASURE HOUSES OF EUROPE
■ , ' .'■ ivcmbcr, ty68
XI "VIII
RALPH WOOD TYPE FIGURE
OF ST. PHILIP IN COLOR.
PROOF CONDITION.
14 IN TALL. S450.00
CREAM WARE AND GREEN
WEDGWOOD TUREEN. EARLY
NINETEENTH CENTURY.
PROOF CONDITION 19 IN.
WIDE : 12 IN HIGH. OVERALL
$450.00
562 LINCOLN AVENUE. WINNETKA. ILLINOIS
HILLCREST 6-0912
Si
„, —
r rf r rr r r rrf ri JFf j
V M
44
I fester 15. item. m
Coffee Urn [783
I leisht 1 ! ' inches
From the collection of
HILL, HARRIS & CO.
Direct Importers & Fine Arts Dealers
[3th at Lee Street, Alexandria, La., U.S.A.
Presenting a magnificent collection ot
Antique English Silver, Old Sheffield Plate
and Victorian Plated Silver
Telephone 3 18-442-3303
xnx
EXHIBITION OF EILSHEM1US OILS - NOVEMBER ist - 30th
ACQUIRED FROM THE ARTIST loins Michel Eilshcmius, New Jersey, [864 - New York 1941
BERRY-HILL GALLERIES 743 fifth avenue, new york 10022. PL3-8130.
irrent with Bridge and Birds ol Paradise
19.J 25? inches
Seated Nud
UIUXIIUUI W Ml WW
I'KK is ON Ul i H 'I s I
\ sophisticated American "Primitive , comparable with Rousseau Ic Douanicr, 1 1 1 1 -
unsophisticated French "Primitive . Acclaimed in 1917 In Marcel Duchamp;
exhibited in I'.ms and New York. Acquired In Metropolitan; Whitnev, Detroit;
I Luxembourg, Paris ct al, He painted phantasies and emotions; spoke ol himself .is
.1 genius; .ukI was eulogized .is "New York's most colorful eccentric, painter, poet,
.iiitl eoniposci
TREASURES FROM PORTUGAL
i
■ ' • 1 ^th ( !entur\
JTv. T
Portuguese Oak
■\i in 1 li.ni .
I '.li ved le.ithei n.u k
and sc.it.
1 )ne ol .1 paii .
I Iciujil >(> mi lies.
( 'oinn.nc Willi tin
ones 111 ilu
A Iciropoliiiin Museum
ol Art
ALCOFORADO
.W2 East 52)ui St . near Second Ave.
New York 10022 (21 2) 758-4618
lluuhimi s Antiques
Route 202 - Route 113
Hiickiii^liaui, Rucks County, Pennsylvania
Telephone: (215) 791-7611
Salt Glaze
I eapot and Pitcher
i 750-1 760
\nti (fites and works of . \rt
1 oniioissciir, November, i*K>H
Panel size 22 in. x 15 in. Outside Frame 28
THE CARDINAL'S FAVORITE
Francois Brunery
Member of the Art & Antique Dealers League of America. Inc.
120 Greenwich Road, Charlotte, Xorth Carolina
Telephone (704) 366-7272
IN TORONTO CANADA
'NARRATIVE PAINTINGS'
An Exhibition and Sale of fine Figure paintings by
outstanding artists of the Nineteenth Century -
including :
F. Roybet, E. Fichel, Chas. Meissonier, P. Grolleron,
Charles DeLort. P. Perboyre, B. J. Blommers,
J. Scherrewitz. B. de Hoog, J. Verhas,
H. Compotosto, Walther Firle. Auguste Geiger,
Otto Erdman, Sir Luke Fildes, Augustus Egg,
Melton Fisher, Heywood Hardy, Edgar Bundy,
F. M. Bennett, J. A. Lomax, and many others.
Also landscapes by:
Wm. Shayer, Sr., H. J. Boddington, E. C. Williams,
Morland, Witherington, etc.
194 Bloor Street West, Toronto 5, Canada
4 doors west of Park Plaza Hotel
Telephone AREA CODE 416 - 921 - 3522
George IV silver partly-fluted shaped coffee pot
on stand with burner. Maker: John Angell,
London 1829.
Antique English and Irish Silver
Old Sheffield Plate • Victorian Plate
(KBme Antiques 3htr.
Bertram A. Wine
2o East 55th Street, New York. N.Y. 10022
Tel: PLaza 9-5685
Members of the Art and Antique Dealers League oj America Inc
\ i. >. ..I Boulogne JAMES It IDFOKD, signed
BERNARD BIVALL
174a KENSINGTON CHURCH STREET, LONDON W.8
Tel: 01-229 2988
rhf ' 'I i • .i . -■ -i ir, November (<>(i8
< II
OTHEBY'S
(Affiliated Company: Parke-Bernet Galleries Inc.)
Id the following sales in November, each sale beginning at 1 1 am unless otherwise stated
vT LEAST TWO DAYS PRIOR ALL CATALOGUES POST FREE
- M
i Co
2AA
;w Bond St., London W1
e: 01 -493 7242
idon 24454
s: Abinitio. London
RK
met Galleries Inc.
son Av., New York 10021
e: 21 2-879-8300
w York 222643
s: Parkgal, New York
5 of London Ltd.
isonAv., New York 10021
<e: 21 2-758-2891
s." Abinitio, New York
RNIA
s of London Ltd.
utive Life Building, Suite 904
shire Boulevard
Mils, California 90210
>e:213-274-7329
I 7120
] TO
jj ft Co. (Canada) Ltd.
> 5 Downtown, 6th floor
■ )e St., Toronto 1
r. ie.(416) 861-6761
r s: Abinitio, Toronto
' >resentative for
J & Co.
I Bernet Galleries Inc.
I Abdy
Duras, Paris 8e
H ie:ANJOU 2599
juCE
1 ^preservative for
P&Co.
I Bernet Galleries Inc.
(' e Dauphine
j Corsini 42r
le: 24264
native for
&Co.
I Bernet Galleries Inc
I O.Attallah
1 7095
t
le: 226338
URNE
'<■ n Representative for
I & Co.
I Bernet Galleries Inc.
« mgden
5
i treet
I ne. Victoria
I 3000
IS: Abinitio, Melbourne
Friday, 1 st November
Highly Important English Furniture,
Dutch Furniture, Tapestries,
Statuary and a Ship Model
the property of The Rt. Hon. The Earl Poulett, re-
moved from Hinton House, Somerset. Cat. (30
plates), 12s.
Monday. 4th November, at 2.30 pm
Fine English Drinking Glasses
the property of Mrs. Marv Helton, Miss Elizabeth
McMillan, Col. Innes, N. Ware, O.B.E., and other
<<w ners. Cat. (5 plates), zs.
Monday. 4th November
Important English and Continental
Portrait Miniatures
the property of the Trustees of the Estate of the
late Mrs. F. H. O. dc la I lev and the property of
Major R. M. O. dc la Hey (Second and
Final Portion). III. ( 'at. \os.
Tuesday. 5th November
Continental Pottery and Porcelain
the property of The Rt. Hon. I he Earl Poulett, the
late the Hon. Mrs. A. E. Pleydcll-Bouveric, Mrs.
E. L. Nicholson, Mrs. H. N. Frampton ami other
owners. III. Cat.
Tuesday. 5th November
Japanese Colour Prints, Drawings,
Illustrated Books, Japanese and
Chinese Paintings
the property of various owners. Cat. (ioplates),4>
Wednesday, 6th November
Eighteenth and Nineteenth Century
Paintings
the property oi various owners.
Thursday, 7th November, at 2.30 pm
Important Violins and Italian
Maiolica
the property of Mrs. M. Agnew, Mrs. D. Bcatty,
Mrs. J. Me( .ill:' ray Dawkins, the late M. T. Hind-
son, Esq., P. Damiron, Esq., ami other owners.
III. Cat.
Thursday, 7th November
English and Foreign Silver Plate
the property of Mrs. A. S. Farrington, Miss M.
Wood, O. H. Killin, Esq., Dr. M.'chosh, Com-
mander C M. I )onner, and other o\\ ners. ( 'at.
Friday. 8th November
English Furniture, Clocks, Textiles,
Rugs and Carpets
the propertv of The IU. Hon. I he Earl Poulett
(removed from Hinton House, Somerset), the late
the Hon. Anthony Asqmth, and other owners.
Monday, 1 1 th November, and following
day
Americana, Voyages and Travel,
Atlases and Maps, Autograph Letters
and Historical Documents
the property of the late H. L. Bradfer-Lawrcnce,
Esq., Cecil H. King, Esq., Ralph Benson, Esq., A.
Brett, Esq., and other ow ners.
Monday. 1 1th November, at 10.30 am
Oriental Pottery and Porcelain
and Works of Art
the property of various owners.
Cat.
Monday. 1 1 th November, at 2.30 pm
Portrait Miniatures, Objects of Vertu,
Russian Works of Art and English
Enamels
the property of The Rt. Hon. Ehe Earl of Lancs-
borouffn, and
her owners.
Cat.
Tuesday, 1 2th November
English Pottery and Porcelain
the property of various owners.
Tuesday, 1 2th November, at 2.30 pm
Antique and Modern Firearms
the property of The Armouries, H.M. Tower of
I ondon(Part XIII). 111. Cat.
i in
Wednesday. 1 3th November, at 1 1 am and
2.30 pm
Old Master Paintings
the property of I lis Grace the Duke of Northum-
berland and other owners.
Thursday. 14th November
Fine English and Continental Silver
and Plate
the property of E. J. B. Collins, Esq., Mrs. E. M.
Clarke, The Rt. Hon. the Earl of" Powis, C.B.E.,
Lord Murrav of Newhaven, and other owners.
Cat. (14 plates), 6s.
Friday. 1 5th November
Continental Furniture, Ivories,
Bronzes, Tapestries, Rugs and
Carpets
the property of various owners.
Monday. 18th November
Fine English Drinking Glasses
including Examples of Jacobite
Interest
the property of J. M. (lark, 1st]., H. Paul-Hulne,
Esq., ami other owners. Cat. (6 plates), 2.?.
Thursday. 21 st November
English and Foreign Silver and Plate
the property of various owners. Cat. is.
Thursday, 21 st November
Important Jewels
the property of Lord Dickinson, the Rt. Hon. the
Dowager Countess of Pembroke and Montgomery,
Mrs. A. D. Lenox-Conyngham, Mrs. A. M. Lead-
ward, Mrs. H. S. Evans, Lt.-Col.J. M. C.hika, and
other owners. Cat. (X plates), 4s.
Thursday. 2 1 st November, at 2.30 pm
Fine Eighteenth and Nineteenth
Century Drawings and Watercolours
the property of Sir John Fitzherbert, the late H. L.
Green, The Rt. Hon. Lord Hollonden, Mrs. Gilbert
Miller, Miss Olive Lloyd-Baker, J. P., Sir Richard
Acland, Bt. and other owners.
Friday. 22nd November
English and Continental Furniture,
Clocks, Rugs and Carpets
the property of various ov\ ners.
Monday. 25th November, and following
day
Bibliotheca Phillippica: new series
Part IV:
Oriental Manuscripts and Miniatures, ('at. 35.?.
Monday. 1 8th November and following
day
Printed Books
the property of various owners.
Tuesday. 1 9th Novembei
Fine English Pottery
the property ol Lady Gollancz. Cat. (13 plates), 6s.
Wednesday. 20th November
Fine Eighteenth and Nineteenth
Century Paintings
the property <>l the late Sir A. Chester Beattv,
Muriel, lady Forteviot, E. II. Roth, Esq., Michael
Ben tine, Esq., the Menzies of Mcnzics, the late the
I Ion. Anthonv Asquith and other owners.
Monday. 25th November
Fine Objects of Vertu
the property of various owners. III. Cat.
Monday. 25th November, at 2.30 pm
The M. T. Hindson Collection of
Important Netsuke, Part V.
III. Cat. I OS.
Tuesday. 26th November
Important Continental Pottery and
Porcelain
the property ol R. Wittiekl, Esq., M. F. Gcttclson,
Esq., the late the I Ion. Mrs. A. E. Pleydell-Bouvene
and other owners.
Tuesday. 26th November, at 2 30 pm
Egyptian, Western Asiatic, Greek,
Etruscan and Roman Antiquities
Wednesday. 20th November at 1 0 30 am
Coins
the property of various owners. III. Cat.
Wednesday. 2/th Novembei
Important Old Master Paintings
the property ol various owners.
Thursday, 28th November
Important English and Foreign Si ar
and Plate
the property of The Rt. Hon. Lord Braybroi • an
other owners.
i 1
Thursday. 28th November
Eighteenth and Nineteenth Cent y
Paintings
Thursday. 28th November
Important Medieval, Renaissanc
and later Works of Art
including a collection of Renaissance and I
bronzes, the property of various owners.
Friday. 29th November
English and Continental Furnitn,
Rugs and Carpets
the property of various owners. 111. Cat.
Monday. 2nd December, at 2.30 pm
Indian, Tibetan and Nepalese
Sculpture in Stone, Wood and Bi nzi
Monday. 2nd December
Valuable Continental Books
the property of the late J. I. Davies, Esq., a oth
owners.
Monday. 2nd December
English Pottery and Porcelain
Tuesday. 3rd December
Seven Illuminated Manuscripts till
Ninth to Twelfth Century
the property of the late Sir A. Chester Beat''
Wednesday. 4th December
Impressionist and Modern Paintiirt
Drawingsand Sculpture
the property of' the late Miss Sybil Stew. , X
Flcur Cowlcs, Mr. Harold Minsch of :«1
1 lills, and other owners. 111. Cat.
Wednesday. 4th December, at 2.30 pi 5
Fine Nineteenth Century and
Modern Prints
the property of Sir Chcveral! Sitwell, 1(1
I larrv Rosenthall, Esq., and other owners. 1.4
Thursday. 5th December, at 2 30 pm 14
Impressionist and Modern Paimi'A
Drawingsand Sculpture
the property ol various owners. III. Cat.
I Ik ( moisscur. November, I'XiR
t:iv
3THEBY' S
\IESDAY, 20th NOVEMBER
ME EIGHTEENTH AND NINETEENTH
[NTURY PAINTINGS
operty of the late Sir A. Chester Beatty, Muriel. Lady Forteviot. P. H. Roth. Esq.. Michael Bentine. Esq
ienzies of Menzies. the late the Hon. Anthony Asquith. la Baronne de Baulny and other owners
irshall
xandre de Mu'mide with his horses
I. 38i by 48 inches
cv
SOTHEBY'S
WEDNESDAY. 4th DECEMBER
IMPRESSIONIST AND MODERN
PAINTINGS DRAWINGS AND SCULPTURE
the property of Mr. Harold Mirisch of Beverly Hills, the Estates of the late Hugo Cassirer,
Miss Fleur Cowles. the late Miss Sybil Stewart, and other owners
lllustrnii 1 1 V) ■ ill ;■;
M.iison do Bcllcvue c. 1882-85 21 by 25A inches
( VI
SOTHEBY'S
WEDNESDAY. 4th DECEMBER
-
SOTHEBY'S
MONDAY. 25th NOVEMBER
HIGHLY IMPORTANT GOLD SNUFF BOXES
FABERGE AND MINIATURES
the property of The Rt. Hon. The Dowager Countess of Pembroke and Montgomery, The Rt. Hon. Lord
Rendleshan, and other owners
Illustrated Catalogue
A Louis XV gold and mother of pearl
' box Pans. 1746. 3a inches mid 18th century. 5 inch'
( Mil
I SOTHEBY'S
MONDAY. 25th NOVEMBER, and following day
)RIENTAL MANUSCRIPTS AND MINIATURES
from the Collection formed by Sir Thomas Phillipps. Bt. (1 792-1 872)
i
The fire-ordeal of Siyawush from a manuscript of Firdausi's Shahnama
Illustrated by Mu'in. 1 654 (375 by 240 mm)
( IX
SOTHEBY'S
THURSDAY, 28th NOVEMBER
IMPORTANT MEDIEVAL, RENAISSANCE
AND EATER WORKS OF ART
INCLUDING A COLLECTION OF RENAISSANCE AND BAROQUE BRONZES
the property of various owners
lllustrah ■</ Cala/ur/uo
A Florentine bronze horse from the Bologna-Susim
A I lorentino bronze figure of a satyr, in the manner o
Ammanati, 8i inches, sixteenth century
«IDON
Set of Four George II
Cast Candlesticks.
London 1741
By James Shruder
Weight: 79 oz. 12 dwt.
Height: 8| in.
Engraved with
the Crest of Aynsley
SL * * 9K M
.'v
V
Ntw York
Ef
George 111
Soup Tureen
Maker: Paul Storr.
London 1813
Height: 13 in.
' RUBSOLE LTD S J SHRUBSOLE CORP.
I EUM STREET. LONDON WC1 01 -405 2712 1 04 EAST 57th STREET. NEW YORK 1 0022. PLAZA 3-8920
I f the British Antique Dealers' Association Member of the National Ant. que and Art Dealers' Association of America
1 te from the British Museum
„ ' fr " T 1 '"ill
A fine narrow Queen Anne burr walnut secretaire cabinet.
The drawers were intended to be opened by a key. English circa 1715.
Height: 79 in. Width: 32 in. Depth: 20 in.
PICTURE EXHIBITION — 'PAINTING FROM NATURE'
19th November - 6th December Monday - Friday 9.30 a.m. - 5.30 p.m. Saturdays 10 a.m. - 1 p.m.
SPINK
Founded 1666
ORIENTAL ART ANTIQUE SILVER EUROPEAN GLASS & PORCELAIN ANTIQUE FURNITURE
ENGLISH PAINTINGS & DRAWINGS CLASSICAL ANTIQUITIES COINS MEDALS & ORDERS
. // mi. tot ii~>'
Sp
d., King Street, St. James's, London, S.W.1. Telephone: 01-930 5275. Cables: Spink London, S.W.1.
'ome Florentine jewels
riontalenti and the dragon theme
I NNE HACKENBROCH
1 TOST Renaissance jewels have at some tune or other been
I associated with Benvcnuto Cellini, or at least with Florence,
i irthplace. Yet, although he certainly made jew els, none by
I master has survived. Nor, indeed, have any others whose
i: enth-century Florentine origin is firmly established. Hut w e
live that we have isolated at least a small group that may be
i -d together by closeness of style to the decorative designs of
I Coroutine artist Bernardo Buontalcnti (i 541-1608).
:fore describing these particular pendants, we draw attention
r le entries in Medici inventories and account books, mcntion-
Q jewels which can no longer be traced. Some of these were
I e for special occasions, such as Cosimo de' Medici's first
i ting with his future daughter-in-law, Giovanna d' Austria, at
' gio a Caiano. At that festive occasion, on [8th December,
;, he bestowed upon her a most beautiful necklace of pearls,
I: londs, rubies and other precious stones (Le messe al collo una
f ssima collana tra di grosse perle e bellissimi diamanti
ibini e pietre preziose). Such valuable jewels, designed
» uirily for the display of precious gemstones and oriental
Is, were particularly vulnerable, since they w ere among the
i objects of value to be sacrificed at times of financial strin-
; y. A number of Medici jewels survive in the Museo degli
\ enti in Florence, although these are of unknown origin, some
1 g wedding presents and others forming part of the dowry
» lght by that same Hapsburg Princess Giovanna to Florence.
(Jed to these uncertainties of origin and style is the fact that the
\ Jici attracted many foreign artists to their court, whose con-
i utions rendered the brilliant local scene yet more complex and
'< lurful. Cardinal Ferdinando de' Medici, tor instance, commis-
! ed a Flemish jeweller Leonardo to execute a gold jew el for
) cntation to his niece Virginia. That jewel was set with
I nonds, rubies and pearls, and displayed the f igures of Phaeton
his horses . . . ('dona all' illustrissima et eccellentissima
1 ora Virginia Medici un gioello d'oro grande con diamanti,
1 aii e perle e con fighurine che fanno la storia di Fetonte con
. nali etc. . . . laborati da Leonardo Fiammingo').
i/e now call attention to a group of four pendant jewels which
believe to be based on concepts by the same master, Bernardo
mtalenti. We first describe these jewels, and show how their
gns are interrelated. Thereafter will be pointed out their con-
ion with Buontalcnti.
)ne of these is a pendant owned by Mr. and Mrs. C. Ruxton
'Jr. of New York. It is in the form of a hippocamp, set with a
e b uoque pearl and hung with emeralds (see colour plate, No.
The monster's head is that of a ferocious dragon witl harp
h, whose front legs and curled tail are enamelled whil vkh
stippled gold lines. Design and execution are superbly harmoniz-
ed ami display that sculptural quality which we consider charac-
teristic of many Italian Renaissance jewels. 1 he technical skill dis-
played in its execution is surely the mark of an experienced mem-
ber of a flourishing workshop.
Similar to this hippocamp with a dragon head is a winged
dragon pendant terminating in a toothpick, at the Rijksmuseum
in Amsterdam (No. 4). Both the dragon on the Love jewel and
the creature in the jewel .it Amsterdam display their menacing
teeth and tongues with equal ferocity. They differ 111 that the
dragon, whose tailparts form the toothpick, has been given
additional wings, placed at the base of the head, and compensat-
ing for the missing tail. The neck is worm-like, with rippled
surface, calculated to allow a firm grip when the utensil served its
practical purpose.
Another dragon pendant, in the collection of Mr. ami Mrs.
|ack Linsky, is of similar character (see colour plate, No. 2). A
spirited dragon, whose body like that of the hippocamp pendant
is formed of a large baroque pearl, is shown in a prancing attitude
even though suspended from a double chain, and with claws
weighted down by the precious stones which they clasp, and by
pendant pearls. Seated on the dragon's back is a female allegorical
figure, holding the reins and a jewelled sceptre. She appears in a
long white skirt and dark enamelled bodice, with a billowing veil
flowing from her hair. Her small head and attenuated propor-
tions follow the canons of beauty which ruled in Florence dur-
ing the mannerist period of the later sixteenth century.
Buontalcnti's association with the Medici started when he was
only ten years of age, after the floods of 1 547, when Grand 1 )uke
Cosimo met the boy for the first time. He was apprenticed to
Ciiorgio Vasari who, in the second edition of his Vitac (in 1 568)
described Buontalcnti's work as a miniature painter, and his
imaginative handling of semi-precious stone, crystal and porce-
lain; he praised his fantasies ("ingegnose fantasie ), as being so
delightful as to render too long a story the description of all the
forms they took ('che il tutto qui raccontarc sarebbe lunghissima
storia'). Francesco de' Medici appointed Buontalcnti as his
chief architect, and commissioned him to design palazzi, villas,
churches, gardens and fortifications; in addition the artist in-
vented intricate stage settings and theatrical costumes tor court
festivals, directed the Medici porcelain factory and, as is here
suggested, designed jewellery.
Some of Buontalcnti's drawings support this supposition.
Particularly well suited tor a comparison is the one tor a cassone,
at the Gabinetto dei Disegni in Florence, that includes a sea-
dragon, whose ferocious character is tinged with humour (No. 5).
137
■ad of the female allegoric.il figure astride the dragon jewel
lie Linsky Collection, the dragon on the cassonc drawing
Lies a pntto on its back, who joyfully demonstrates how easily
monsters are tamed. Buontalenti designed another dragon
! he intermezzo Apollo and the Python, performed at the wed-
; of Grand Duke Ferdinand 1 and Christine of Lorraine in
! >, at the Ufhzi Theatre (No. 6). That grotesque creature dis-
I s a superb stage presence, combined with a vitality that is
acteristic of all of Buontalcnti's fabulous creatures, another
nple being the winged dragon whose foreparts serve as a
|it to a Medici porcelain ewer, now at the Museu Nat ional de
I Antiga in Lisbon (No. 7). In this connection it is to be noted
the allegorical figure on the jewelled dragon — to return to
pendant in the Linsky Collection — closely resembles Buon-
tti's theatrical costume figures, such as Amonia Doria, from
first intermezzo of 15X0 (No. S), and the Hamadryads in their
jintain retreat, from the second intermezzo (No. n). These arc
II his volume of drawings in the Bibliotcca Nazionalc 111
once.
he sculptural quality of these dragon pendants is as impressive
that of the dragon handles of enamelled gold w hich enrich
e of Buontalenti s carved crystal and stone vessels, commis-
ed by Francesco de' Medici. Most of these can be seen at the
seo degli Argenti in Florence, but others that served as pre-
ation pieces are in the Kunsthistorischcs Museum 111 Vienna,
■re they remind us of the close ties that once existed between
Medici and the Hapsburgs. A tew of Buontalcnti's sketches
these vessels survive, and account books disclose that he carv-
rertain vases himself and delegated the goldsmiths' work to
1 or to foreign artists whom the Grand 1 Hike had attracted to
ence. The closest comparison offered to these pendants is the
1 setting of the covered cup of prase — .1 green quart/ 111 the
isthistorisches Museum (No. 10). Both handles are 111 the form
vinged dragons, with jewels on heads, chests and along the
s. Their facial expressions are determined by keen eyes and
lacing teeth, and the curious turquoise colour of their heads
white necks, in an exactly similar way to the dragon pendants,
whereas the pendants feature sea-monsters, the dragon-form
dies symbolize the elements of air and earth. The latter serve
r practical purpose by touching the cup with spread wings,
again with their sturdy paws. These variations upon the theme
iragons indicate a vivid imagination, that is entirely consistent
h what we know of Buontalcnti's style from his mine
jhumental creations.
he jewelled dragons that we attribute to his designs arc
rged with unusual energies; they certainly form a remarkable
trast to the conventional concept of personal ornaments
ich, when figural, tended to be tinged with sentiment, or
ped in obscure symbolism. The dragon pendants, moreover,
w that complete unity of design and execution that occurs
y when the artistic sensibilities of designer and jeweller merge,
likely, therefore, is the participation of a foreign jeweller,
b as Jacopo Bilivert (a goldsmith of Delft) who, 111 1584,
ed the decorative setting and heavy chain to Buontalcnti's
ions lapis lazuli vase 111 the Museo degli Argenti. True to his
therlandish inheritance. Bilivcrt's manner is pictorial and
lennan. Formerly in the collection of Viscountess Lee of Fareham,
don. Colour by courtesy of Christie, Manson and Woods.
-tue mastering a dragon. Collection of Mr. and Mrs. Jack I insky, New
't.
ippocamp. (Back and front.) Collection of Mr. and Mrs. C. Ru (to ' Off,
Sew York.
4. Toothpick. Rijksmuseum, Amsterdam.
naturalistic. These pendants, on the other hand, arc the work of
Florentine jewellers w ho approached their art almost like sculp-
tors creating in gold — a concept that is essentially Italian. Hence
the emphasis on clear outlines and the inclusion of ideally suited
baroque pearls to suggest the monsters' strange shapes. These
pendants are indeed so boldl) modelled that the) could be worn
effectively on the sumptuous dresses of the period. In this respect
they also differ essential!) from contemporary Northern jewels,
w ith small figures, that, in Italy, were usually worn on .1 hat or 111
the hair.
The dragon theme may also have intrigued Buontalenti when
he studied blue and white Ming porcelains as a source of design
tor Medici porcelain. These dragons were looked upon as
embodiments of sinister forces, whose powers to harness or to
overcome, as already referred to, presented a great challenge. I he
female allegory on the dragon's back, holding reins and a
sceptre, must therefore be Virtue 111 her ultimate triumph. I he
eagerness, with which the dragon motif was adopted by Buon-
talenti and other artists o| the mannerist period 111 Florence, leads
us to believe that the growing awareness of an expanding world
had predisposed these artists towards the representation of strange,
even fabulous creatures, thought to have inhabited distant lands.
Fair example, w e tend to believe that each period had a favourite
theme. Late-Gothic artists liked the graceful stag; Ins purity and
tenderness may be considered symbolical <>t the years before the
storm ot the Reformation was unleashed. Looking ahead to-
wards the early seventeenth century, when Europe endured tin
miseries ot the Thirty Years' War, the sinister bat w as to beconn
ubiquitous, spreading barren w ings over war-torn landscapes, a
engraved by Jacques Callot ami his contemporaries.
5. Bernardo Buontalcnti. Design lor a cassonc. Gabinetto dei disegni, Florence (1)17 E).
A drawing (No. 1 1) by Buontalcnti, in the collection of Mr.
and Mrs. (alios Scholz of New York, suggests that one more
jewel (sec colour plate, No. 1) which was formerly in the collec-
tion ot Viscountess I cc of Fareham, was a product of the same
Florentine workshop. I he Scholz drawing, w hich li.is architec-
tural motives on one side, features scvcr.il studies ol a helmeted
warrior, who brandishes his sword and holds a shield; sweeping
gestures and windblown drapery suggest a stage character from
one ol the intermezzi. I he heroic altitude of a helmeted triton on
tin jewelled Lee pendant strikes a similar note. I le holds a
s< unit. 11 set w ith diamonds; his breastplate is formed by a baroque
pearl, whose furrowed surface suggests the muse les of the athletic
body beneath; and his powerful forelegs end 111 dragon claws.
I he mask of a fierce-looking lion appears between these claws,
ami a smaller mask is in the loop of the twisted tail which ter-
minates in a large jewelled leal. Graduated rubies line the scaled
tail, and three pendant [Hails hang from it. The original chain
must have been luted with a jewelled < artouche at the apex, thus
c oinpleting a truly magnificent object.
I he theme ol belligerent tntons, and also ol alluring mermaids,
had a great vogue in Renaissance jewellery. But of those we k
only this triton follows the style of Buontalcnti. It is our Iliet
that this triton, and the three dragon pendants, are products cjtbc
same Florentine workshop that enjoyed Buontalenti's suJw
sion. Although these creatures of the sea are not entirely con] aft
ible, they nevertheless present some common characterliBi
Each displays a carefully chosen baroque pearl that occupiiffll
integral part of the figure. Two of these have energetically iait
forelegs with dragon claws. Finally, we must not overloo.Jjtt
e xtra twist ol the tails that show the mannerist's exuberance, \W
and fancy. I his style ruled in Florence about [580, when BH
talenti's imager) had found enthusiastic general accept cc
The technical virtuosit\ that these jewels display is, all
ahead) been stated, indicative of a well patronized w orkshc>]ffto
such infinite skill could only be acquired by constant pr.lltt
through frequent commissions by a prosperous court society. )W
fortunate!), most of what once existed must be considerednW
Perhaps our ideiltifu ation ol four jewels as be ing in l5uont.il f.tlflf
style (in jewellery) may bring to light still others, that cim
placed beside them.
NO
'43
Alfred Gilbert:
a new assessment
Part 3: the later statuettes
i. The Virgin, polychrome bronze, 1896-8. The Clarence Tomb, Albert
Memorial Chapel, Windsor Castle. Crown copyright rcstrvtul.
LAVINIA HANDLEY-RE/
ALFRED GILBERT determined to make the surround of 1,
Clarence Tomb the most splendid possible example of 'go
smithery' on a large scale. His great Table centre for the Quo
and the Mayor's Cham for Preston corporation had been prais
almost without qualification. Although the Winchester Qm
I "ictoria and Eros (the Shaftesbury Memorial) had been admir
they had also been criticised for a lack of synthesis between 1
human figure and its decorative surroundings.
The problem now w as the treatment of the small figures whjj
were to be included in the composition. The Virgin (No. r) art
eleven saints relevant 111 some way to the history of the chapel 1
the reigning house, w ere each to occupy a niche 111 the centre,
one of the identical panels, supported by stylised angels based ,
the Victory of the Winchester statue. From an early stage Gilb-
nsed .1 little armoured figure in the trial panel (No. 2) 'absolutj'
an invention, the shapes of its parts and the ornamentations up.
them merely a resume of the entire monument'.1 In rcjectc;
historical armour for his own stylisation based on natural forai
of invertebrate creatures, Gilbert w as very much of his time 1
in sympathy with both English and Continental exploitation;
such sources. In this, as 111 the pensive melancholy of the Windj:
saints, he followed Burnc-)oncs — perhaps more closely than*:
intended since he later referred to the 'unwholesome mrlucni1
of the older artist. Characteristic of the period also was a r •
occupation with ambivalence, in Gilbert s case, with a particijt
l< mdncss for multiple identities.
A statuette of St. George was exhibited at the Royal Academ 1
1896. 3 Gilbert had given it minute detail and finish w ith str< ;
contrasts of pale silver, dark bronze and red lacquer with taceajl
hands of ivory. Although the figure retained a dignity and -
pression absent from such work 111 general, Gilbert did not list
on the grille but made it the basis' for two other figures, the •
Michael (No. 3) and St. George (No. 4)= of the newly found
Order.
From his portrait busts it is evident that during the nine
Gilbert's style w as broadening and developing towards cxpw-
sionism. By 1896 the miniature work on the grille must li ■'
become less congenial to him, and Ik- had now to consider^
application to the robed figures of the Virgin ami other sai .
'Fhe academic naturalism of the Iawcett Memorial tigur 1
their contraposto and diagonals of drapery and scrolls divcrsi-
ing the figures can be seen, 111 the skcu h model of 1 894 (No. ,
to be disappearing in favour of a more primitive and formal pi
strongly vertical and emphasising tin- head ami hands. ThcsaKl
change is clearly seen in tin- Virtues, of about 1X96-7, of I
Russell Memorial at ( henies (No. 6). Of plain bronze, the Chei
figures have a dignity and monumcntality remarkable for tl'r
si/e, a little over a foot in height, similar to the Windsor sai S I
but w ithout their elaborations of colour and added detail.
'44
rhc base common to .ill the saints 'suggestive of the Dragon
I All Evil'7 is explained by the neatly coiled dragon at the feet
the Gothic St. George in Henry VH's tomb in Westminster
bey (No. 7) in the same position in relation to the sarcophagus
the new St. George at Windsor. The swords of the warrior
its were described by Gilbert as 'symbols rather than archaeo-
ical facts', s and that of the St. Michael lias passed into a world
netaphysics. The crossbar itself takes the form of a diabolical
Iture which pursues a human soul towards the sanctuary of
saint's right hand, where another is already in safety.
II The Times of August 4, 1 898, it was stated that although the
tlve saints were finished they had yet to be placed 111 their
hes. They were all to have faces of ivory, and a list of their
■posed identities and order followed, presumably supplied by
artist. To the north of the grille were to be Saints Elizabeth
Hungary (No. 8), Michael (No. 3), Margaret of Scotland and
\fick; facing the altar, St. Edward the Confessor (No. 9) and Sr.
liiund, Kino and Martyr; to the south. Saints Nicholas (No. 14),
1 eldreda, Hubert and Barbara: and to the west, at the head of the
:,gy, the I 'irgin and St. George. By the New Year the figures of
: north and west aspects of the grille were 111 their places, and
a bearded figure holding a model of the chapel, faced the
1 r with an empty niche beside it.
\t that time Gilbert's difficulties were becoming acute. I le had
ntioned them in his request to Sir Dighton Probyn, the year
: ore, for support in his application for the post of principal at
: ith Kensington, although he had added that he desired the
..ition more for the useful work he might do than for the
>end'.
"wo memorials had been commissioned from Gilbert after the
:>ith of the Duke of Clarence. The second, which had never
feared, was intended for the church at Sandringham. Now Sii
I diton wrote to ask when both commissions would be finished,
hat on earth am I now to tell the Prince'- asked Sir Dighton.
hi, the first sculptor in Europe, again give me the same old
. use, "that you have overrated your powers".'9 Gilbert had
eed overrated his powers, in hoping to persuade a patron who
\ tited a completed monument and an end to expense, to allow
: irtist to work on to his own satisfaction, regardless of time and
: t. He was almost incapable of releasing his work any sooner,
t the seven completed statuettes only one, the St. George, re-
lied the ivory details. The figure, a simplified version of its
[ decessor, had been ceremonially placed on the tomb by Queen
'> toria; and so, presumably, Gilbert would not remove it. But
t other six appear to have been changed, since the summer, for
fares cast in one piece, richly coloured in a range from red
t augh gold to silver, but without the sharp contrast of ivory or
bnze.
4any years later when his friends were trying to bring about
( bert's return to England, Marion Spielmami reported a belief
I rent among members of the Royal Academy that 'although
( bert took away the figures from the tomb in spite of the King's
vh and then said that they were melted down, these figures
\ re in due time reproduced and offered for sale 111 Bond Street'. ' 0
I 913 Gilbert had mentioned 'scurrilous attacks, accusing me of
oosing of finished works destined for the tomb. What really
I »pened was that in order to find means to carry on my work, I
l| forced to part with studies pertaining to it'." It is evident
t t there were complaints about the sale of figures over which
t patron considered that he had the right of disposal. But the
5 of the figures, whether Gilbert was directly responsible or
and he may not have been, since friends tried to intervene in
H business affairs at various times and debtors seized his property
f re than once — was not the chief cause of displeasure. Failing ti <
2. Sketch model for grille panel of Clarence Tomb, showing early St.
George, plaster, c. 1893-4.
1. St. Michael, polychrome bronze, 1S9S. The Clarence Tomb, Albert
Memorial Chapel. Windsor Castle. CroifH copyright reserved.
1 45
4. St. George, working model, aluminium, 1. 1X95.
fulfil his obligations he was treated more and more like a
faulter and less as the admired genius of former times,
commissions pressed on him, and any money he could earn
already owed elsewhere. Gilbert did no more work for Wim
He broke down, mentally, physically and financially. He
said to drink; but if so it was as the result, not the cause, o
troubles which now became unbearable. The inevitable
came in August, 1901 .
After his bankruptcy Gilbert was given rooms at Windsi
that he could go on with his work there. Queen Victoria had
in January. Her son was crowned in the late summer of
and Gilbert's rooms were needed. After the coronation he fc
he was not to return, since no progress had been made. Pei
because he wanted to put his own case after recent adverse
licity, Gilbert had agreed to co-operate in a publication aboi
own life and work, the monograph by Hatton which remain
chiet source on the subject, tor the earlier years, and which
tains a section on the Clarence Tomb. In February, 1903, the
refused permission to publish photographs of the tomb,
special number of the Art Journal on Gilbert appeared at E
It contained photographs ot tour ot the statuettes, acknowli
as "working models in the collection Mr. W. Vivian'. All
vary slightly from their counterparts at Windsor: the I 'iroi
Sr. Elizabeth appear to have laces of ivory. (It must be added j
polychrome 'St. Elizabeth' had been for sale at the Fine
Society in 1902. and that two similar figures (see colour
were bought, on his own evidence, by Sir D. Y. Cameron
Gilbert.) The publication of these photographs probably c
the door, left ajar in February when Sir Dighton had wri
detailing Gilbert's offences, and ending 'For God's Sake, Gil
try to make amends'.12 Queen Alexandra and her trien<
Duchess of Rutland persisted in trying to help. The Queen:
Gilbert for her portrait during the spring of 1903. Compro:
were suggested. The Duchess proposed that the empty n
should be tilled temporarily by the plaster models so tha
unveiling could take place. A sketch on Sandrmgham wi
paper13 suggests that there was an idea of allowing the 181
George to do dutv tor the monument in Sandringham Ch
This it eventuailv did, but not until atter the death of Ed
VII.
( lilbert had been talking tor some time ot going to live ch
in Bruges, and 111 the summer of 1903 he settled there.
Duchess had used her influence to arrange a commission tor;
memorial tor Oakham in Rutland. Two compositions 01
theme occupied him during the following years. An express:
character had begun to be noticeable in The Broken Shrine
10). a group exhibited with the Surrey Art Circle in 1901
Chanty of the Russell Memorial (No. 6), stands erect, <
carrying two small children in her arms. In the Broken Shrir
5. Sketch models of lour of the 'Saints'. I )etail of the plaster model of the Clarence Tomb shown at the Royal Academy in 1X94.
6. Central portion of the Russell Memorial,
Chenies, Buckinghamshire, bronze, c. [896-8.
7. St. Geors;c, bronze. Henry VII Tomb, West-
minster Abbey.
S. St. Elizabeth of Hungary, polychi ne
bronze, f. 1898. The Clarence Tomb, A^rl
Memorial Chapel, Windsor Castle. Crown 1
right reserved.
same three figures crouch 111 despair backed by a pigged rum.
I lere .ill grace is discarded, the surface of the metal is roughened
and the forms arc only broadly indicated. In 1903 at the Royal
Academy Gilbert showed a portrait of his mother. Of this 1). S.
Mt (loll w rote 'nothing of the kind has been done in England ,
and recommended that it should he bought by the Chantrey
Fund. I he advanced critics admired this side of Gilbert's art, and
regretted w hat they considered the misuse of his gifts, for Gilbert
was primarily concerned with his allegories, and the following
year showed another portrait bust combining the features of his
mother and of Beethoven, under the title, 1 he mother of the
Ninth Symphony .
Gilbert's beloved Victory entered into both his concepts tor a
war memorial. I hrec tunes the little figure was enlarged to
gigantic proportions (No. 11), impractical to cast and never
finished. On a more familiar scale it was tried out in a series of
varying relationships, with a rider on a rearing horse (No.
I his was not compactly grouped hut markedly separated, w ith an
arbitrary disregard for proportion and finish in the interests of
expression, lor a time Gilbert abandoned the conventional ele-
gance of (he previous decades as artists were doing all over
Europe, lie returned to graceful realism in tin- bust of Eka
\li logltlin (No. 13), a widow who had asked for a memorial to
' itc husband. A friendship grew up as the monument pro-
I. followed by a rupture in 1907, when Gilbert abandoned
the model, inscribed 'unfinished tor a symbol". Mrs. Mclos.
had it cast by Albert loft, to whom she wrote: 'My own
was to have been the casket in which the body of Gilbert, ere
ed, would sleep some day ... " The monument shows the
loghlins jointly holding the casket which contains the husb;
ashes. The modelling is brilliant, even it the subjee t is unusual
Gilbert resumed work on the saints in 1907 in the hoj d
returning to England. Although telegrams Hew about and fri I
used their influence, his affairs were too much entangled fol
w ell-w ishers to straighten them out. There w as a counter nijl'O
ment, in which the King, as head of the Royal Ac.idcmv, waf.ici
to be concerned, to force Gilbert's resignation from that b^lv.
Mrs. Meloghlm wrote a deranged and abusive letter to I ch
VII ; and although she signed it, her w nting and style were scjkc
( lilbert's that it was supposed ( lilbert had written it himself itlct
an assumed name.1. Things were already bad enough, ambus
must have reinforced the view of Sir Dighton Probyil that a pi
start for Gilbert would again prove fruitless. In November,
Gilbert sprang aside from under the sword of DamoW
resigned from the Academy and remained in Bruges.
A statuette of St. Catherine seems to have held a leading pos oil
111 the late group of saints, as tin- St. ( ieorge had clone in the e. I
one. The St. Catherine also was completed and exhibited il
pendentl v. I he name did not occur in the list of 1 898. I he se 1 1
group of statuettes, completed in 1928, included St. Gather \
148
is soon showing a miniature version to his assistants in his Unices studio, c. 1906.
Sienna and St. Catherine of Alexandria and omitted St. Barbara.
There is .1 suggestion in 1 Luton's account1* that the figure of the
Virgin (sec colour plate) on the grille, in 'her attitude of resigna-
tion' also refers to the here. 1 veil mother. Princess Alexandra.
There is no doubt that the statuette facing the altar at Windsor
(No. 9) shares the identities of St. Edward the Confessor; Edward
II, founder of the chapel; probably St. Edmund, King and
Martyr; and certainly G. F. Watts, 'the greatest poet-painter of
our era' 7 whose portrait bust by Gilbert was reproduced in the
section on the Clarence tomb. It is therefore probable that the
adjacent niche was at one time intended for the multiple character
of the two St. Catherines, who shared not only their name bui
also the tradition of the Mystic Marriage with the Child Christ
'49
12. Si. George and the Dragon led by Victory, bronze, igoft.
i ?. Portrait bust, Elsa Mcloghlin, bronze, igo6. Tate Gallery.
Photographs survive of two plaster models in the style of the
early figures. ( iilbert has written on the kick ot one. 'St. Nicholas
(for boys and sailors, also for Russia)' and on the other, 'St.
Kathcnnc. Miraculous espousal' (No. 14). The attributes of the
martyr princess and the Siennese nun are combined: the crown
and veil, the martyr s palm and the hare toot resting on the briar,
already an important element in the symbolism surrounding the
Virgin and St. Elizabeth. All such detail disappears in the bronze
(No. i s) where a novel iconographic.il concept ot the mystic
marriage is the focus ot the otherwise much simplified composi-
tion, the 'Draconic' base proves the connection with the
Clarence Memorial, the style, broader than formerly, hut still
with great plasticity and interest in outline, makes it probab 9]
this would have been the manner of the 1907 figures hack
been completed. 'T he Miraculous Wedding' was included 1 J
exhibition ot Gilbert's work held in February, (909, ; th
International Society to w hich many former patrons, incl lin
Queen Alexandra, made loans available.
The last mention ot the Windsor figures had been in a lei rt
Spielmann,"1 at which time (iilbert still intended to finish |
1 le remained in Bruges through the w ar of 1914-18 and ret H
to I oiulon in 1926, largely due to the determination of U
McAllister who was writing his biography. She sent lett * |
rebuke and appeal to kings and ambassadors, rallied evei "
it. Catherine and St. Nicholas, plaster models, c. 1H98.
15. St. Catherine, the Miraculous Wedding,
bronze, r. 1907.
St. Catherine of Sienna, bronze, 1928. The Clarence Tomb, Albert
norial Chapel, Windsor Castle. Crown copyright reserved.
friend and sympathiser she could find, and succeeded at last. One
stipulation was made, that Gilbert should bring w ith him the five
missing models. But no one seemed particularly surprised w hen
he began all over again, or when, having led everyone to expect
completion of the work the following year, this w as not achieved
until 1928 (No. 16).
Gilbert ended his life reinstated, knighted, but not rich. Miss
McAllister became his secretary. In spite of his egocentricity and
aggression, he had always aroused affection and loyalty. In
May, 1934, just before his eightieth birthday, .1 complimentary
dinner was given for Gilbert at the Cafe Royal in London.
Reply ing to a toast, he spoke, according to The l imes, 'modestly
of his work, and said that he had arrived at a time of lite when the
only thing that mattered was to be happy and to know that he had
friends'.
NOTES
1 Sec The Connoisseur, October, 1968, view of Clarence Tomb, illus. No. 1.
2 See The Connoisseur, September, 1968, 'Victory', illus. No. 12.
3 |oseph H.itton. 'Alfred Gilbert'. The Faster An Annual, 1903, p |0, cnl. t.
I H. F. W.Ganz, 'Alfred Gilbert .it Ins Work' (1934).
6 See The Connoisseur, September, r968, 'St. George', illus. 110 1 1.
,; See The Connoisseur, September, 1 v''S\ 'Fawcett Memorial', illus. No. 6.
' Hatton, p. )o, col. 2.
" H.itton, p. 30, col. 2.
"Sir Dighton Probyn to Gilbert; fan. 11, 1899, Windsor Royal Archives. Add.
Mss. Z 475/251. Quotations from the Royal Archives .ire made by gracious per-
mission of Her Majesty the Queen.
10 M. H. Spiclmann to [. McAllister: 24 September, 192(1 Library of the Royal
Academy of Arts.
II Gilbert to the Rev. J. W. R. Brocklcbank : 2i April, 1913. I he Ash mole. m Mus-
eum.
'-Sir Dighton Probyn to Gilbert: Feb. 3, 1903. Windsor Royal Archives. Add.
Mss. Z 47s/2('>i .
13 Collection Baron Van Calocn.
14 E. Mcloghlin to A. Toft: April 29, 190S. The Royal Academy of Arts.
15 E. Mcloghlin to Kin- Edward VII: Windsor' Royal Archives. P.P.
D.30605.
16 Hatton, p. 31, col. [.
17 H.itton, p. 32, col. 2.
18 Gilbert to M. H. Spiclmann : March 17, toil. Royal Academy of Arts.
VE
I SI
An old house in
resuscitated
WHATEVER may be hit about the mki.iI desirability in-
otherwise of w hole villages remaining in a single owner-
ship, it is undeniable that the most unspoiled English villages are
very often of this type. A single ownership, whether it be the
local landowner, as is usually the case, or, say, the National Trust,
as at Lacock, is the best way of ensuring that the general interest
will override that of individuals who in their projects may not
pay muc h attention to this aspect. Experience has taught beyond
doubt that the exercise of reasonable control, preferably from a
single enlightened source, is essential to the preservation of
amenities.
Cireat Walthani, five miles north of Chelmsford, has long been
known as one of the- most attractive of Essex villages; and here
too, until comparatively recently, a single ownership prevailed.
I he most striking building is perhaps not the church but a gabled,
half-timbered house abutting on to the east side of the churchyard,
with tour double stac ks of exceptionally lofty Tudor brick chim-
neys.
The early history of this house is obscure, but the evidence of
the root structure would seem to suggest a fifteenth, and even
perhaps a late- fourteenth, century date; the chimneys were a
Essex
ALEC CLIFTON-TAYLC
proud sixteenth-century addition. Within, over the princij
fireplace, is the coat-of-arms of Sir William Wade, Constable!
the Tower at the time of the Gunpowder Plot. In the Victori
period the building became a shop with dwelling over, while of
corner housed- the village post office (No. i). This indeed u
mained the situation until 1965.
It was in the following year that the owner, Mr. John Jolli
Tufncll, decided to undertake a thorough restoration, with t
help of architectural advice from the Ministry of Public Buildij
and Works through Mr. A. Baker. By this time the building vj
in a sorry state. Originally it had been ranged round three sides!
a small, eastwards-facing courtyard, but in the nineteenth centu
this area was filled in and other unsightly accretions appearc
while the whole of the timber framework was hidden undci
coat of plaster (No. 2). Mr. TufncH's first steps were to swe
away these Victorian additions and, by removing the renderii?
to reveal again the original oak studs, which, although somewH
defaced by later nail holes, were mostly found to be still in go]
condition (No. 3). Windows were also renewed — not, it is tri
always in the happiest or most correct proportions. It is evidi
that the front faced west on to the churchyard (Nos. 4 and 5) a
1. f rom the east. Before restoration, (cf. No. 6).
. From the north west. Before restoration.
i. Prom the north west, foday.
the cast or courtyard elevation, the one which is first seen on
coaching the village from Chelmsford, was very much the
c of the house (No. 6). Here the chief feature is the brick
nney breasts, the central one ot considerable projection. Some
le brickwork had decayed and new bricks, made by the 1ml-
Brick and Tile Co. near Sudbury, have had to be introduced,
le of the rooting tiles also needed replacement, and tor this old
were obtained trom elsewhere.
/ithin, a remarkable transformation has been effected. Oak-
aed houses can be replanned more easily than any others, and
shitting partition walls, opening up blocked tireplaces and
dows, and so on, Mr. Tutnell has succeeded in turning a much
pidatcd structure into a charming and most desirable house,
r rickety staircases, introduced at various dates, have been re-
ed by two good ones; the north staircase has been adorned
|ia pair of heraldic finials (No. 7) copied by Mr. Rainer from
(a lion and a lioness) at Langleys, the big house at Great
Itnam which is Mr. Tufnell's home. The appropriate rc-
t aduction of diamond-shaped leaded lights in the windows has
precluded the construction ot two good bathrooms, a
icle with a shower and an up-to-the-minute modern kitchen.
1 the rcdecoration of the interior, there has wisely been no
ish adherence to sixteenth-century modes; but in the princi-
bedroom the stripping off of layers of wall-paper revealed
ugh of the original painted Elizabethan decoration to make a
iplcte restoration cjuite a straightforward matter (No. S).
thin Tuscan pilasters, linked by a succession of arches each
raining a pendant, are as simple as they are effective: the
air is grey-blue. Hut 111 the principal sitting room the big
ohce arch has been amusingly framed by painted 'curtains'
• 9). while a magician's wand has turned the scruffy old Post
ce into a delightful green and white writing room (No. 10).
)thcr rooms upstairs there are some enjoyable unhackneyed
orial wall-papers.
H. Restored Elizabethan painted decoration in tlic principal bedroom.
'55
One nl the pleasures ot dm work of restoration, Mr. Tufnell
told mc (indeed, lie pays the warmest tribute in the outstanding
skill nl those who have helped in the restoration ol this house
bricklayers, carvers, silversmiths, gilders, furniture restorers
and others, .ill ol whom were loml artisans), was the dis< overy of
evidence ol old-time cr.iftsin.mship. lor instance, .1 handful of
huge nails, some as much as 71, inches long, have survived 1111-
.1 ailu (I from the old raftereil roof ; sonic of du st' have been care-
fully < leaned, polished and mounted and two of the original 111-
' nts used for making these nails have also conic to light
It 1 M atly to be hoped that other owners of ddwn-at-hccl but
potcnti 1 attractive old buildings may be encouraged to emu-
late thi ''nimble undertaking.
9. The fireplace in the principal sitting room.
10. The new writing room in the former Post Office.
11. Some of the nails from the original raftered roof, and two o.
instruments used for making them.
I 56
rhe remarkable story of
he Bauhaus
ILLIAM GAUNT
PHE Bauhaus — institute of constructive design — founded at
L Weimar in 1919, had an astonishing history. It effected a
volution in art teaching. It made the most determined and cora-
ehensive effort of the century to rationalize the arts of design,
ith architecture as their focal point. The story is set out in full in
e exhibition first shown at Stuttgart from May tojuly and then
London at the Royal Academy until the end of October.
The exhibition covers the period when the Bauhaus was an
tivecentre in Germany.at Weimar from 1919 to 1924, at 1 )essau
>m 1925 to 1932 and 111 w hat might have seemed a last-ditch
ind at Berlin in 1933 before it was closed down under the Nazi
gime. But that was far from being the end. It remained a force,
new Bauhaus came into existence in the United States. The
fluence of the ideas behind the original foundation, especially
1 architecture, methods of training and the practice of industrial
sign spread all over the world and has continued operative to
e present day. The perspective of a half-century was necessary
!r an adequate survey of its development.
In origin the Bauhaus was no sudden improvisation. It could be
garded as the outcome of ideas fermenting since the tune of
'illiam Morris. What 'design' was, what it might be or ought
be in an era of machine- ami mass-production, was an un-
lved problem of the nineteenth century. To establish a link
twecn art and industry was the purpose of the government
liools of design in Victorian England. They were unfruitful
cause no better way of improving standards was seen than
'apply' some copy of the decorative styles of the past as a sort
artistic camouflage of the machine-made product. Morris saw
c answer in an alternative to machine production, a folk-art,
e work of a community of craftsmen, animated by the thought
fitness to purpose in the making of objects of everyday use. I lis
'spel had an inspiring effect in Europe, in Germany and Austria
est of all. Just as in England the Art-Workers' ( luild followed
Morris s wake, such comparable societies came into being as
c German Deutsche Werkbund and the Austrian 11 iaw, Werk-
ute.
I. Preliminary course with Mohol y-Najjy 1923-2S. Kinetic sculpture y
Franz Ehrlicli, a study for a mechanical window display, 1928.
157
2. Preliminary course with Albers 1923-33. Corrugated cardboard, fold-
ings.
i j : ' i
i
■ . _ . '
-
■
i :
■
!
-
While the war was in progress his plans tor W eimar wt
crystallizing. The former High School ot Painting and the Schc
or Applied Arts were to be united and renamed (the term'Appbi
Arts' was in itselt a negation of his ideas). "Bauhaus" defined his aij
to produce "a unified an . . . in which there is no distinction 1|
tween structural and decorative .... He proposed to get rid .
the "misty aestheticism or the traditional an school where tj
dominance ot the lite-class and a general vagueness ot aim mer»j
tended in his view to create a disappointed an proletariat.
Aims were to be clear-cut. rational and practical. The deagu
must concern himself with the essential character and property
of the materials he used. In training to work tor. and wi«
indusrrv he must become tamiliar with what the machine cot.
most effectively and economically do. Economv had both i
aesthetic and. a nnancia! significance. It was as necessarv tor «
signers to become as versed in costing as to draw. All studei
had to take a basic course dealing with the essennals ot for^
colour and function. Practical workshops replaced acadet-p.
1
3. Schlcmmcr*s teaching 1922-19- Figurine "dc-materiallzation" (m »-
physical form of expression).
ich was the curriculum established as the Bauhaus got under
. The subjects dealt with were architecture, interior design,
ting, sculpture (more as three-dimensional structure than as
re sculpture), photography, design for theatre, ballet and film,
ery, metalwork, furniture and textile design, typography and
ting processes advertising and exhibition display. Gropius
ted the co-operation of artists and craftsmen of kindred
ude as teachers. A surprising number of them, considering
importance attached to industrial techniques, were painters,
y were not, however, picture painters of the academic order
as radical in the pursuit of basic means of expression as
pius himself.
hey included the leading figures in the avant-garde German
e Rider' group: Wassily Kandinsky and Paul Klee. Kandin-
the exponent of a 'pure' art, without imitation of nature,
( lucted classes in mural painting. Klee brought his versatile
ntiveness and feeling tor the qualities of media to the glass,
ile and painting workshops. Basic courses were severally
sed by Johannes Itten, Laszlo Moholy-Nagy and Joseph
:rs. Moholy-Nagy, a Hungarian artist much influenced by
>ian 'Constructivism', showed how its abstract conceptions
ht be turned to use in typography, photo-montage and film
stage design and encouraged experiment in novel effects of
e, light and movement. Albers devoted attention to the value
geometrical proportion and ratio. Lionel Feininger, the
man-American painter noted for his architectural subjects
landscapes in a variant of the Cubist maimer, first taught in
print-making department but later was a teacher 'without
folio' — by example rather than in any didactic fashion,
/ith a staff of this order the Bauhaus quickly became cele-
ed. A flourishing period began when it was transferred to
sau in 1925, being granted a financial subsidy by the city
ch also allowed tor a new building. I )esigned by Gropius it has
)me a classic example of modern architecture. Stress was
easingly laid on design tor mass-production and between
i and 1930 practical activity reached its peak. The 15.iuh.ms
'cd a leading role in fostering the austerely functional interior
jr of the period. Marcel Bauer, .1 pupil at Weimar w ho
1 une a teacher at Dessau, acquired distinction in the annals of
ij Jern furniture design as the originator of the steel chair.
tit change was now in the air. Gropius left in [928 to carry
> irivate practice as an architect in Berlin. I )ifficulties came with
lj 1930s, first on account ot the international financial crisis in
I opening year of the decade; as a more direct threat 111 1932
j:n Dessau, by that time under National Socialist control,
) posed to close the Bauhaus down. The struggle for survival (in
inner telephone factory outside Berlin) under the last Prin-
il, the brilliant architect, Mies van der Robe, terminated when
er came to power in 1933. The professors were stigmatized
ommunists, degenerates and practitioners of black arts. Manv
)j lem emigrated,
■y that very fact the influence of the Bauhaus. far from being
royed, was vastly extended. The later careers of its personnel
) r extraordinary evidence of this. Walter Gropius, at the pre-
< time the internationally esteemed doyen of modern archi-
< ure, after working for some years in England where he gave a
1 It stimulus to English colleagues, became Professor of
hitecture at Harvard (1937-52) ; Mies van der Kobe emigrated
' America to carry on Bauhaus teaching as Director of lin-
eage Institute of Technology. Monumental expressions of the
inaus spirit in architecture are Gropius's 59-storey Pan-
erican Airways building over Grand Central Station. New
x k(T958)and van der Rohe's Seagram Building (1954-5 8) u hich
< ers above Park Avenue.
4. Interior workshop. Marcel Brcuer. Tubular steel chair, covered with
linen, 1928. Produced by Standard Mobel, Berlin.
5. Walter Gropius. Pan American Airways Building, New York, 195H
Prefabricated concrete parts with projections of white miartz.
6. Ludwig Mies van tier Rohc. Seagram Administration Building, New 7. Bcrtrand Goldberg. Marina City, Chicago, 1964. Detail. View
York, 1954-58. Steel skeleton construction with surface of brown solar a balcony,
glass and bronze.
Moholy-Nagy brought Ins experimental methods to the New
15. mil. uis founded in Chicago in 1937 (know n as the Institute of
Design from 1939 onwards) and was its Director until his death
in 1946. Marcel Breuer now conducts an architectural practice of
international range from New York as 'Marcel Breuer and
Partners'. A striking major work of his organisation has keen the
Whitney Museum of American Art, New York (1963-66). Her-
bert Bayer, 111 America since 1938, is adviser on design to great
industrial corporations. Bertrand Goldberg, an American pupil of
the Bauhaus in its final (Jerman phase, is responsible for the
imaginative development of Manna ( aty, Chicago (1964).
A Professor at Yale from 1950 to 1960, [oseph Albers has since
not only worked independently as a painter hut has been visiting
lecturer in universities m Mexico, Cuba, Chile, Peru and |apan.
|ohanncs Itten, like Paul Klec, repaired to Switzerland and dirc< t-
ecl the craft school and craft museums 111 Xutich, w here he dud in
1967. The present exhibition shows how mam students of the
I! nihatis, old and new , have c arried its theory and methods about
\ 1 'i ld. I here is pe rhaps no leading art sc hool of today w ith .1
d curiae ulum ol design that does not provide some version ol
h ins basic course'.
The record presented by the survey of '50 years of the Bat, 111
is one of international growth and success. It is se> tar bom 11
with the growth of specifically twentieth-century forms a
and design that assessment almost becomes that of the 1 u)
modern trend. It is a possible critic ism e>t the curtain wall ol h
and metal that it te nds to bleakness; of the concern with a
elements that it makes for cul-de-sacs e>t abstraction in pa il
and sculpture. The absence t>f a decorative style allied vit
architec ture, suc h as other periods have possessed, seems Dd
more to sharpen taste at the present time for forms (if orn;(UT
that had no place in the Bauhaus scheme e>f things.
Yet there are mam tihjc'e ts ol modern design, struct all
commendable, where ornament would he- unsuiteel to in
nature-. A floral design em a refrigerator would be as inatei
priatc as it is delightful em a seventeenth-cent 111 v cabinet, e.i
lines ami purposeful simplicity have their own value. It
merit ol the Bauhaus to have given a straightforward and rc i s 1 1
answer te> the question ol what design should be in an .
great industrial expansion, 'an organic idea, as Walter G bjj
has put it, 'that can change itself toe orrespond with the elm 15m
factors of life'.
160
ieh Sharon. Israel Pavilion at Expo 67, Montreal. Facade detail.
Warrington revives its
collections
DENIS THOI\ 5
TI IE ever-widening interest in English watercolours has
prompted the Museum and Art Gallery .it Warrington,
Lancashire, to make a special effort with its own collec tion. In the
i 10 ye.irs of its existence, Warrington's art collec tion had grown
only slowly and without the benefit of local connoisscurship.
When, less than three years ago, a local industrialist and
collector, Mr. |. II. Booth, offered to help the gallery with a
donation and by helping to find suitable pictures, the opportunity
was seized at once. Remarkably enough, within the space of
twelve months the gallery brought together some so watercolours
for a re-opening exhibition. Some of these were from Mr. Booth's
own collection, others had been |ointlv paid for, and some had
been bought with the help of grants under the direction of the
Victoria and Albert Museum. Mr. F rancis Hawcroft, Keeper of
the Whitworth Art ( iallcry, who opened the exhibition, remark-
ed that he knew of no other art gallery in which 'so many fine
pieces have been gathered together in such a short time'.
The success of the venture is perhaps an example to oc\
relatively small communities, not all of whom take the s
developing interest in their art collections as in their !.
antiquities. Watercolours, in particular, are notoriously neglec J
even such examples as are to be seen in less prominent Br i
collections are often faded, foxed, or wilting in aged mounts u
battered frames. The revival of interest at Warrington, led I
director, Mr. ). R. Runnier, has already shown how draw ^
which have been in a municipal collection for years can cm |
with dignity enhanced when, cleaned and re-framed, they lie
alongside the latest acquisitions.
At Warrington these include handsome examples by Wil n
Callow, David Cox, George Barret Jnr., Samuel Austin ancfi
|. Muller. Other members of the early English school represc x
are Robert Hills, Anthony Devis, |. I). Harding, William H 1
and George Fennel Robson. Of uncommon interest and qu t\
are examples of such North Country painters as T. M. Ricl J
son (a view of Dunstanburgh Castle), William Huggir 1
Liverpool (a delicate watcrcolour of sheep in a farmyard) am hi
Cumberland-born painter George Sheffield. The collcctioi ix
over a dozen works by Sheffield (none of them among its a
acquisitions), who lived for a time in Warrington before bec 1
ing a respected member of the Manchester art society and a r I
lar exhibitor in London during the 1S70S and 1880s. One 0 h<
most w elcome, if unexpected, effects of Warrington's enter!
is that it helps to rescue such forgotten figures from undcscjcc
obscurity.
William Huggins. Sheep with gate and shelter. Watcrcolour, 61 iohlifs
Signed and dated 1S70. Municipal Art Gallery, Warrington.
George Barret, Jnr. Evening Reflations: a lakeside scene. Watcrc<lo».
1 Vi 3-1 inches. Municipal Art Gallery . Warrington.
9 /• A
■Mil
iti^
rgc Sheffield. Canal scene with lock. Sepia
[ 19 X 27I inches. Signed and dated 1885.
icipal Art Gallery, Warrington.
uel Austin. Highland Fair. Watercolour,
28 inches. Municipal Art Gallery, Warring-
\. Richardson. Dunstanburgh Castle. Water-
ur, 13] 25 inches. Signed and dated iKS?.
icipal Art Gallery, Warrington.
'■
pnm <~-~ m» •»(•*« ' ' , .
Unrecorded Lowestoft pug dogs
SHEENAH SMITH
ELLVI'.N years ago, in his article 'Lowestoft Figures',1 Mr.
Geoffrey Godden presented the documentary evidence for
the existence of Lowestoft figures and described a group of male
and female musicians anil putti, basing their attribution to tins
factory on comparisons with domestic wares, on the evidence
provided by material from the factory site and upon information
obtained from chemical analysis and inspection under ultra
violet light. Whilst discussing the human figures he referred to
the small animals which, like the putti, had been accepted as pro-
ducts of the Lowestoft factory for main' years.2 The seated eats
and sheep were recorded as early as 1922'' and the swan was
noted by Mr. A. |. 13. Kiddcll 111 1937". Mr. Godden concluded:
'. . . and perhaps other models may be added to the list of figures
made at Lowestoft.
During the years which have elapsed since this publication
other versions of the musicians have tome to light and recently
three previously unrecorded animals have been identified.5
An undecorated pug was the first to be discovered. It stands
two inches high on a scalloped rectangular base and is simply
modelled with little attempt to describe surface detail. 1 he eyes
are indicated by impressed circles, the month and nose by incised
V shape's with dots for whiskers, and the tail curls in a single loop
onto its back. A collar around its neck is embellished with a
single rosette at the bac k.
Amongst the Spelman Collection of excavated material from
the Lowestoft factory site are several fragments of unglazed
bases, and a glazed fragment with traces of manganese deco-
ration'1, which 111 size and positioning of the feet correspond
with the scalloped rectangular base of this and a more recently
identified model decorated in enamel colours.
1 he coloured specimen is similar 111 construction to the white
pug but faces in the opposite direction and, daintier 111 concep-
tion, was perhaps intended as the female of the pair. I he method
of indicating the animal s coat is distinctive; the outer parts of the
body and upper side of the head are painted 111 narrow broken
vertical strokes of reddish brown over a paler wash of the same
colour, whilst the underside ol the body, the insides of the legs
and the area around die mouth are kit white. The muzzle is
blac k, the mouth and nose pic keel out in reel and the eyes, w hic h
are almond shaped, are outlined in brown with black pupils.
Small elots representing the- claws are also blac k. I he studded
collar is untieliK painted in a bluish green with puce rosette and
the same puce colour occurs on the base-, where scroll motifs in
each corner are reminiscent ol the puce cartouches seen on
documentary pieces of the 1780s and yos.
A larger model of a seated pug clog bears a close resemblance
this figure in the treatment of the modelling and decoration. It
a solidly built animal seated on its haunches with head turned
one side. The body is treated as a simple mass with detail co
fined to the head, the tightly curled tail and to the feet whe
individual claws are indicated by shallow incised grooves. T
method ol painting each hair e>t the coat separately and the L-
with black eyes and black and red mouth correspond with t
standing pug, but 111 this model the eyes are more elaborate
described with eyebrows, rims and pupils and the muzzle
speckled with black. The collar again is green with a pi
rosette at the front and the rectangular base is decorated \v
purple scrolls. Like most of the figures its base is flat and glaz
underneath and has a small circular vent-hole extending into t
body and the unevenly distributed glaze has a characters
turquoise tint where it has collected in pools on the underside
the body and base-. Althenigh there is apparently no excaval
material relating to the seated pug, 7 its similarity to the Standi
version and to the other figures suggests a Lowestoft origin.
All three pugs show a dull purplish fluorescence under she-
wave ultra-violet lamp", as do all figures ascribed to the facto
As a result of these discoveries, the ascription of a group,:
manganese-decorated pug-dogs and cow-creamers to the Lc
ton Hall factory, is under review. T he w riter would be interesl
to know of the whereabouts of other possible Lowestoft figufi
and also to receive any comments on the attribution of the tigi I
described here.
The three de>gs described and illustrated here and examples
the other figures mentioned are on exhibition at Norwi
Castle Museum.
NOTES
1 ( oiiiioissem Yeiti Hook, ivS7. pp. 72-75.
J Moulds foi .1 seated st.it; anel doe were excavated and casts from them in *
British Museum were illustrated by F. A. ( nsp. 'I owestoft 1 liina Factory', 1 J
opp. p. 1 4, hut no examples from these- moulds are know 11.
;l '['he ( 'oniioisseiir, February, 1922, p. '>'). illustrated. ,
1 I'lw Connoisseur, October, 1937, p. 1 85, illus. p. [87.
■ I would like- to thank Mr. A. J. H. Kiddcll, Mr. l i s. Brooke and Dr. H I
W.itne'v foi dravt ing mv attention to these models.
'• Excavated in 1902-3 and presented to Norwich Museum by W. W. R. Spel 0
m 1922. Not recorded by Spelman in ' I owestoft < hina', |arrold & Sons, 19CK
7 I he- reference from / lie < 'omwisseiii . April 1903, p 268, quoted below may all
to ciic ol these models, but more probably to the cat for which a complete 111 id
e xists: ' I he correspondent n> u honi we .ne' indebted lm the In. in ol the plljr
graphs' (probably A. Mcrrington Smith or F. A. Crisp to whom he solJl
moulds) *in.ide' .1 very interesting discovery amongst the oddments ol a pell
mould ol some animal, su< h .is used for the top of .1 soup tureen cover e>t a cuU
ser\ ue, and also a mould of an animal's face, show ing nose, eyes and mouth ■
distinctly.'
* I Lino via '< hromatolite' short-wave ultra-violet lamp.
Standing pug, undecorated, base damaged. Height 2 inches, widt|il
base- i1 in. In s. T. C. V Hrooke Collection, Wroxham, N.>rlolk.l»
Spencer T. Hrooke, 'I owestoft Porcelain', Norfolk Life, June 1967. 'If
crated. Seated pug. Height 3! inches, length of base 2| inches, v. idtf «
base I I inches. Ex C. W. Furloilgcr sale (Sotheby's, 18th April, 19'>7. >W
bought by T. C. S. Hrooke from whom the Norwich Castle Mils
purchased it with the aid of a grant from the Victoria ci Albert Muscat
Standing pug, painted in enamel colours. Height 2I inches, lengl I
base- 2 1 inches, width of base I ' inches. T. C. S. Hrooke Collection.
Problems and solutions: II
TN FITZMAURICE MILLS
RESENT-DAY glass which is manufactured to a correct
Formula is relatively tree from attack from most sources,
push it can become affected it exposed tor too long in very
\p atmospheres. The older glasses, those prior to the 17th
tury, which were made from silica, lime, soda or potash are
' prone to attack by humidity. A sign ot the onset of such
Jrioration with early glasses can be opalescence, which pro-
jps a mother-of-pearl reflective appearance. With the very
i / antique glass the condition known as 'weeping glass' can
: appear. The primary cause ot this is the presence ot too
1 t a proportion ot alkali, an excess quantity ot potassium salts
;'ch are hygroscopic; the tears are drops ot potassium carbon-
: If this trouble is noticed and the object is rare and valuable
: rcatmcnt should only be carried out by an expert,
he washing ot glass should only be done 111 w arm water, on
ccount should this be over hot, as with trail specimens crack-
1 might be encouraged. A weak detergent, such as Lissapol,
: be employed, ami each piece should be washed separately,
i 1 rinsing should be done in cold water, although where
i ile articles are concerned, the change ot temperature should
rradual. An additional safety measure is to place a piece of
: 1 sheet at the bottom of the washing-up basin or sink. When
•d the glass should be dried ver\ thoroughly with a soft linen
1 or, tailing that, a piece ot soft chamois will serve well;
bn is not suitable as it is liable to leave specks ot flufl behind,
the glass is to be stored tor a period and, the relative humidity
tIi, steps should be taken to see that the storage is 111 as drv a
: as possible. It is not advisable to wrap the pieces up m tissue
[ ther paper as these will encourage and retain damp. Wher-
. possible the pieces should be kept on shelves or 111 cup-
: ds that are well ventilated, and protected as tar as can be done
1 risks ot vibration or concussion. The mending of breaks 111
is a difficult process and one 111 which the mends are almost
: id to show, unless the breaks are along the lines of engraved
. 'ration. If mending is attempted, the pieces should be
pulously clean and then thoroughly dried. The most con-
lent adhesive to use is 'Durofix'. The minimum amount
1 Id be applied to the edges of the pieces and then they should
t eld firmly together for a few minutes until set. It the break is
extensive or a large piece, it will help it the mend is held with
adhesive tape whilst hardening. Excess glue should be cleaned off
as soon as possible using ,1 small piece ot cotton wool dipped into
a little acetone or methylated spirit. Other adhesives that can be
used include 'Araldite 101' and 'Araldite 103', although these
two should not be employed on a valuable specimen, as it a mistake
in the mending is made they are difficult to remove. A self-made
adhesive can be prepared by dissolving pieces of Perspc.x in
glacial acetic acid s millilitrcs, with ethylene dichloridc igs
millilitres.
In general terms, glass should not stain as it is non-porous. But
one item seems particularly prone to taking on a slight cloudi-
ness, and this is a decanter. There can be two reasons for this,
either that it has been stored away damp or that wine remains
have hardened against the glass. If the reason is the first men-
tioned, there is not a lot that can be done. It it is, however, the
second, the condition cm normally be removed quite simply.
Pour into the decanter a gentle acid such as s per cent sulphuric or
nitric acid. Swill this round tor a moment or two and then pour
away. Next thoroughly rinse the decanter 111 clean water a
number ot times to remove all traces ot the acid. Lastly dry out
the interior. This is best done by leaving the decanter upside
down to drain and then it possible push a drying-up cloth inside
and try to work into all the corners. If this is unsuccessful .1 hair
drier can often prove very efficacious. After drying put away
without the stopper 111 the neck, dust can be kept out by placing
a paper tissue over the mouth and holding it 111 place with an
elastic band.
Stained glass that has become covered with mould growth or
pollutants m the air, such as can come from coal or gas tires, can
generally be cleaned quite easily, it the condition has not been
allowed to continue too long. The lz,1 , iss can be washed with a s
per cent solution of ammonia 111 distilled w ater. This cleanser can
be applied with a piece ot cotton wool or gently scrubbed on
with a soft brush. It is wise to protect the hands from the am-
monia. Finally the glass should be thoroughly rinsed. Particular
care should be taken it the glass is old. It there is a likelihood of
further mould growth the glass can be wiped over with a s per
cent solution of 'Santobrite .
The Libbcy Punch Bowl. Cut by John Rufus
Denman of the Libbey Glass Company, Ohio,
1903. The Toledo Museum of Art. Gift of Owens-
Illinois Glass Co.
[6s
A painted neo-classical
commode
E.T.Jl
ROBERT ADAM's furniture has come under close scrutiny
recently with regard both to the origin of nco-classicism
(France or England?) and to the designing of furniture in his style
(by Adam himself or by cabinet-makers?). Whatever the birth-
place of nco-classicism, Adam's version of it is unmistakably
his own, and one therefore welcomes the opportunity of con-
sidering the problems of design by an examination of the painted
commode illustrated ill No. [, an unusually fine example of his
mature taste of < . 1 775.
It is semi-elliptical in form and its front has the typical tri-
partite division, with a w ide central spacing, marked oh1 in this
case by stiles which replace the pilasters usually found on semi-
circular commodes of the period. Its painted decoration relies on
subtle distinctions between soft pastel shades, bright floral orna-
ment and repetitive classical motifs applied with great delicacy.
The front panels are painted pale blue while the stiles sh
against a white background, trailing flowers springing frompii
pots m brilliant colours — red, blue and purple among the g 1
foliage. On the frieze and on the lower part beneath the p," 1
are paterae "of grc\ leaves set in dark lilac ovals, linked by !
familiar Adamesque festoons of husks of bell-shaped flowers. \
top is of copper, of the kind made by Matthew Boulton, anc a
a central painted fan, dark green, surrounded by multi-colon
flowers and .1 plain pink rim. Round the edge of the top 1
another gay floral border. (No. 2.)
The decoration has an extraordinarily delicate finish. A mi t
Vitruvian scroll is used as a border; on top it encloses the fan 1
floral edging; it also runs round the outer edge of the three f.n
panels, across the frieze (below the gilt tret) and along the bot n
(above the gilt guilloches). An even more delicate trefoil fret, J
A semi-elliptical commode with painted decoration of pastel shades and floral and classical ornament in the style of Robert Adam, c. 1775.
t66
ie top of No. I. The painted decoration is applied to a thin copper
1 covering the whole of the top.
' actcristic open spacing to emphasise its tiny size, adjoins the
uvian scroll on the top and runs on the inner edges of the front
:1s.
side table (illustrated in R. W. Symonds, The Present Slate of
English Furniture, London, 1921, fig. 109, facing p. 112)
dies this commode so closely as to suggest it was made en
. Both pieces have the same shape and the same painted dc-
' tion of radiating fan design and bright floral border on top
of paterae and festoons on the frieze. The legs of the side
: have the same round terminals as the feet of the commode,
he commode was originally in Northumberland House,
:h Adam was commissioned by the Duke of Northumber-
to redecorate in 1770. The house was demolished in 1874,
a glimpse of its former splendour, representing some of
m's finest work, may be obtained in the Victoria and Albei t
ieum where the celebrated wall panels from the drawing-
n, of glass foiled to imitate porphyry, have been re-assembled,
although the commode in its shape and painted ornament is
' typical of Adam s approach at this stage in his career, no
Jn by Adam for it survives. There are, in tact, only a few
*ns for commodes by him, dating from 1771, in the Soanc
eum, and his only known executed and documented exam-
are the fine pair, decorated with marquetry, which were
ec. 1773 (possibly by John Linnell) for Osterley. These show
he had soon abandoned the rectangular form of his earliest
;n of 1 77 1 in favour of the more attractive semi-circular
e. He also preferred painted decoration to marquetry, which
>ed very rarely.
:ie absence of a design by Adam for this commode no longer
sions surprise, for it is well established that fashionable
let-makers independently designed and produced furniture
t his decorative schemes (and indeed furnished in full neo-
ical style houses with which Adam had no connection what-
, as Chippendale did at Appuldurcombe Park, Isle of Wight,
e 1770s).
le commode is obviously the work of a cabinet-maker of
iction, but any one of half a dozen firms could have been
: bnsiblc. Chippendale dedicated the first edition of his
1 '/or (1754) to the Earl of Northumberland (who became Duke
11766), and his workshops were close to Northumberland
Jse, but it would be useless, if tempting, to pursue these
lous links further. The brilliant floral decoration may provide
: )re certain connection, for they are strongly reminiscent of
l lesigns of M. A. Pergolesi who came to England from I tab
» : time before 1770 at Adam's invitation to collaborate in
<-] ior decoration. Pergolesi's designs, though primarily intend-
I >r walls and ceilings, probably inspired much of the painted
* nicnt on neo-classical furniture. He dedicated almost all the
ii of his Designsfor Various Ornainetits (1777-1801) to the Duke
: orcnumberland, and his design of a table in classical taste for
I )ukec. 1780 can be seen in the Victoria and Albert Museum.
: olesi's name is also associated with the decoration of the I < >ng
\ try at Syon House, the Duke's Middlesex seat.
The Times-Sotheby Index: 2
OLD MASTER PRINTS
GERALDINE KEEN with the assistance of Charlotte Prest and Ian Bennett
This article is revised and reproduced from 'The Times' by permission.
51 53 55 . 57 59
Till I E( I INIQUE of making engravings
w .is developed in Europe in the second half
ill the i si 1 1 century as an extension ol the gold-
smith's e r.ilt nl incising images on metal objects.
From about 1460 onwards there were profes-
sional engravers in Italy and the Rhincland
whose products may be considered as works of
.111 in their own right. Apart from the inherent
virtues ol .111 engraving. 11 has the advantage ol
being printed many times over. It is therefore a
kind ol 'multiple original', .1 tact which has been
known to cause much misunderstanding and dis-
ti nst ol the medium. Since very early days some
artists have tried then hand at engraving or the
closely related technique ol etching. Notably
successful artist engravers unhide Mantcgna,
I'ollaiuolo, Diircr, Rembrandt, Van Dyck and
( .in. dctto and then products have for centuries
been appreciated and eagerly sought alter by
connoisseurs. There is a long tradition ol print
aut lion sales going back to t he 17th century, and
work ol fine quality has always fetched a good
price. I 01 example, Rembrandt's famous etch-
ing of (Christ healing the sick sold for 100 guilders
in his own lifetime and thus became know n as
the hundred guilder print. Before the last w.ir,
which seriously curtailed the market, the main
centres lor print . Mictions were London and
OLD MASTER
PRINTS
IMPRESSIONISTS
UK
SHARE PRICES
1967 share price
figures at mid-year
Germany; since the war the most frequent and
important sales have been 111 London, Switzer-
land and New York.
AUCTION PRICES of old Master prints have
increased even more remarkably than those of
impressionist paintings, explored by The Timcs-
Sotheby index last month. On average the index
shows prices multiplying IN tunes between 195 1
and i<y>7.
This compares with what now seems a
modest 9g t niics lor impressionist paintings, and
around vl tunes for share prices. While the in-
1 re.ise in impressionist prices is rapidly turning
this market into .1 doin.nn only for millionaires,
museums or al least the very rub. Old Master
punts arc still in general well within the means
ol the ordinary citizen.
The rate ol appreciation thus reflects the
spreading interest in works ol arl among those ol
relatively modest means. A major increase in the
number ol punt collectors over the past few
years has pushed prices upwards at an extremely
rapid rate. While for impressionist paintings
prices rose slightly faster in the 1950s than in the
1960s, for ( )Id Master prints the stee p rise began
around [958 and 1959 and does not yet appear to
be flagging.
51 53 65 57 59 61 6J 65 C
[. Giovanni Battista Pirancsi. The Carceri,jU
VII. 540 410 mm. A set i«l sixtee n imag
views of prisons and vaulted chambers, hit
famous se i of prints made by Pirancsi c. V
shows his masterful use of the tcchniq I
etching and has always been highly regt ed<
Several editions were printed, the most cor H
ol which is the second when Pirancsi hi N
worked the plates to make them darker aiu ai
iiie>rc forceful contrast. The most recent
the second edition sold at Sotheby's fe I
£3,200 on 2lst March, 1 968.
|6o
I 1 1
finva
i
Uf
40c
'to
r —
2 = 100
2. Francisco de Goya. La Tauromaquia, plate 2.
-45 350 nun. Etching with aquatint, from the
set of 33 plates first published in 1816. This set of
bull fighting scenes etched by Goya quite late in
his artistic career was re-printed many times
between i8i6and 1937. Only the earliest editions
show the full quality of the aquatint grain. Goya
was, perhaps, the best exponent of the use of
aquatint but the true complexity of it can
only be appreciated in very early pulls. The
vide supra of the first edition of this set fetched
£4,700 at Sotheby's on 12th June, 1966.
if
Prints — engravings, etchings and woodcuts -
cover a wide spectrum in style, quality and
value. At one end of the scale there are poor
copies of well-known pictures which can be
picked up for a few pounds; at the other are im-
pressions from plates by the hand ot a great
artist which can fetch as much as £20,000 to
£30,000. In this case the print may be of superb
quality, a finished work ot art. It can easily letch
more than an original drawing from the hand ol
the same artist.
For instance, Goya's Giant- tor which the
artist used an entirely original, and time-con-
suming, process to achieve a most striking effect
— fetched £20,500 in 1964 while a good but not
exceptional drawing by the same artist made
£5,000 at Sotheby's in 1966.
To pick your way in this market, sitting the
valuable from the worthless, requires consider-
able expertise. The main criteria that determine
the value ol a punt are the quality ot the work,
the condition and the rarity ol the impression.
The highest price so tar recorded lor a print is
£32,000 paid in 1965 tor The Women's Hath, a
remarkably fine engraving by a fifteenth-cen-
tury German artist known as the Master I'.M.
It is the only recorded complete impression ot
the engraving. Similarly, the value ot Goya's
( Hani was considerably enhanced by the tact that
only tive other impressions were known.
Rembrandt provides the best example ot
sheer quality making for remarkable saleroom
prices. An impression of the Hundred Guilder
Print fetched £20,000 at Sotheby's 111 [966, and
111 the same year £30,000 was paid tor his large
Crucifixion. In both cases there are at least 40
known early impressions ot the engraving.
Many impressions can be taken from a copper
plate but it is only the earliest ones, before the
1 1 1 1
Rembrandt
>%
1950-52 = 100
I 53 6S 57 59 61 63 6S 67
^mbrandt Harmensz. van Rijn. The Omval.
X 226 mm. (Bartsch 209; Hind 210).
ing. This is one of Rembrandt's most
>us landscape etchings, dated on the plate
It is a view near Amsterdam looking across
iver Amstel towards the south side of the
ermeer. The dry-point work of this plate
! out quite rapidly so that it is only a few of
srliest impressions which show the full
ty of Rembrandt's work. This impression
om the collection of Captain Gordon
ell-Usticke and was sold at Parke-Bernet
^6,071 on the 31st October, 1967.
1 69
plate begins to wear, that reveal the true quality
intended by the artist, ["his is one ol the major
pitfalls of the market. In general it is the first few
pulls that arc the most valuable. However, in
some cases the artist ma\ have made further im-
provements to the plate alter the first trial im-
pressions and it may be the second or the third
state that is most highly prized. In some cases the
plate has continued in use for centuries, with
adjustments by another hand.
It is quite possible for the early impressions to
be worth several thousands and the later ones
onh a few pounds. This is illustrated in the ad-
joining tables showing recent prices for four
Rembrandt etchings.
The Rembrandt price spectrum
( Condition
Price
Sale date
Drawing ill ii window
Very Good
£>/X>4
1 . [0. <>7
( lood
£520
10. 10.(17
Fair
/;■>>
12. 7.66
Poor
jCss
24. 10.63
The too < Ulihler
Print
Very ( mod
7*26,000
17. 3.66
( !ood
£4.750
is. 4.67
1 air to Poor
£350
21. 2.67
Very I'oor
1 4.12.6j
Portrait of Jan /
I'llhl
Vei y ( lood
£3,000
7. ;.'>i
( lood
4- 7-»7
Fair
£•40
26. >.<>'>
I'oor
£-4
12. 5.64
At the lower end of the market relatively
small differences 111 price can make a substantial
difference in percentage terms. When this index
was begun in the summer ol 1967 it was tound
that Rembrandt etchings had appreciated fairly
3,000
2,000
Diirer
ui
700
' /O
1950-52 = 100
4. Albrecht Diirer. Melencoliah. 240 1 88, mm.
(Bartsch 74; Medcr 7s). Engraving, dated on the
plate 1514. A very tine impression of the first
state before the number nine in the tablet was
reversed. Melencoliah is one of Diirer's most
celebrated plates, and although there are a large
number of impressions of it in existence, the
really early ones are rare. After taking a few
pulls from the plate, Diirer reversed the figure
nine in the third column in the tablet. Sold at
Sotheby's for £4,800 on the 21st March, 1968.
modestly since 1951, only times. Since then
in the autumn ol 1967 and spring ol iy'>s Parkc-
Bcrnct has held the Nowell-Ustickc sales in New
York and the prices paid for this remarkable
collection of Rembrandt prints were almost
double those 111 London the previous season.
Thus our index lumped from \}\ to 24 on the
basis ol two. very remarkable, sales. The indica-
tions, backed up by print sales subsequent, are
that prices at normal sales will tall back from the
New York levels, though remaining higher than
last year's.
Gothic prints, or the work of fifteenth icn-
tui \ ( lerman engravers, w ere fetching very high
prices at the beginning of the period considered
here. A dotted print of St. Erasmus made
£2,100 in 19S0 and The Virgin Praying by '
Master li.S. had made £1,250 as early as 19
The relatively small appreciation ol these pri'
eight and a half times since 1951, thus seems
parallel the ease of Renoir among the impi
sionist. There has been a large increase in ti
value in mone\ terms but as they were aire:
expensive in the early 1950s the increase is fa !
modest as a percentage.
Apart from Rembrandt, the most rapid ■
creases 111 price have been tor engravings
CanalettO (2i times higher than 111 1951) 1
those after Breughel (26 times). These incre a
seem to represent a real shift in fashion or n ■
praisal of the prints in question, for both tl ;
artists maintained their rapid rise in plj
Canaletto
up 2,000%
il 53 55 57 59 81 63 6S «T
s. Antonio Canalc called Canaletto. Le Porte del
/>n/<>. 294 42K mm. Etching, .1 line impression
ol the firsl stale before the numbers were added
in the low er margin. One of the set of thirty-
one plates etched by Canaletto in about 1 743,
dedicated to Consul Smith, and published at
about the same lime. The set of the etchings
fetched /. I <,ooo . it Sotheby's on the 1 1 th July,
I 968.
.it
p m
oughout the 1967/68 season. The case of
.-ughel (Pieter the Elder) is perhaps the most
jresting since the prints are not even by his
id; they are copies from his drawings by
ltcmporary Flemish engravers.
The fantastic has always exerted a peculiar
;ination but today it seems to have reached
forefront of popular taste. This applies to
;ughel and Bosch on the one hand and to
mcr, Blake or Beardsley on the other. The
rease in price for Breughel prints — hardly
isidered interesting at the beginning of the
iod — is thus a reflection of a much more
leral trend.
The steep upward climb of print prices since
turn of the decade has as yet shown no sign ot
ing off.
11 general, the omens for this market seem
ticularly good. The future of the expensive
1 of the market is closely allied to that ot old
stcr paintings and drawings. As they become
>re scarce the value of prints will increase.
3n the other hand, it should be emphasized
t a large number of prints sold at auction still
;h under jQioo. There seems little doubt that
th the strong demand tor works of art in
leral, other artist engravers will be re-
raised as Canaletto and Breughel have been
:r the last few years. It is impossible to predict
ere the eye of fashion will fall but there arc
I many excellent engravers that have not yet
tn 'discovered.'
' 1 1 1 1
. Pieter Breuerhel
th
e E
Ide
40c
ir
>%-
1950-55=; 100
51 53 55 57 59 61 63 65 67
6. After Pieter Breughel the Elder The Resurrcc-
tion. 450 320 mm. (Bastclaer 114; Hollstein
114). Engraving, possibly by Philippe Galle. An
unusually fine and rich impression of this rare
engraving after a grisaille painting by Breughel.
Pieter Breughel made many drawings specific-
ally to be engraved and paintings by him were
also copied by contemporaries. The engravings
were published as a commercial enterprise by
the print maker Hieronymus Cock, working in
Antwerp in the second half of the 16th century.
This particular impression, being an early one
before the plate began to wear, fetched the
astounding price of ,£3,500 at Sotheby's on the
10th March, 1964. It is interesting to note that
recently a very late impression of the same plate
passed through the sale-room and fetched only
£35-
Contributed by Adrian Bury
I. F. W. Hulme. View of Pyrford, Sumy. iy'
23'. inches. WiWiam Patterson Gallery.
Mr. Patterson's Gallery
T.N its deliberate sts le with full leafed trees care-
JL fully delineated and convincingly coloured.
ft o
coming along, footbridge and gate over .1 stream,
and church across the fields in the far distance.
: -
■ tutui .vhethei
1
It you have not heard of F. W. Hulme the
.irtM. you are with me 111 the vast majority, for I
t 1
' ■ .
I s--^ worked much in
: :
. ■
seen at Mr. William Patterson's Gallery (19
t. W.ii Another notable pu-
icn recently is |. F.
: 1 >w 11 hi irse with dm k ami
■
I 1 • A third v. 1 irk v\
colour, C.uiU 011 Hirer Hank, bv Edward Seago.
irtist .is nne of the best living cx-
inai .'. ith spontaneous w ashes
Heim Gallery
.-1 Holy Family retting during the Flight into
Egypt by Sebastiano Ricci (Heim Gallery Ltd.,
59jcrmyn Street. S. W. 1 ) is one of three versions,
the other two at Hampton Court and in the
Lutoniirski Collection, Milan. These latter two
are based on a series of drawings of which most
are at Windsor and one is in Venice. The picture
under discussion is the one for which the drawing
in the Galcria de Venezia is a study% dating
approximately from 1 7 10.
A recently discovered Annibale Carracci,
Saint Jerome, dating from about 15S5, praying
before a crucifix attached to a tree, profoundly
religious in feeling, has been identified as a
representative example by the Carracci. especial-
ly Annibale. It is documented by Anna Ottani,
Cli Affreschi dei Carracci neV Palazzo Fava
Bologna, 1966. An exhibition of Baroque draw-
ings and sculpture by seventeenth- and eigh-
teenth-century artists at the Heim Gallery has
recently attracted much attention.
Oils and Watercolours
THE exhibition now running at the Clargcs
Gallery (5 Clarges Street. W.i) contains an
attractive collection of oils and watercolours of
the British School during the nineteenth and
twentieth centuries. Watercolourists include
John Middlcton. |anies Holland. David Roberts,
Brabazon, Lear. Meninsky and Frances Hodg-
kms. There are flower pictures in oils by Sir
VA 1 Ilia 111 Nicholson. Sir ( .0 >rge t lausen, V mess 1
Bell. Duncan Grant and Anne Redpath.
Newman Galleries
THE picture of a kitchen interior with men in
oriental garb stated on a couch, and an attractive
peasant woman looking on. by P. foanovitch,
dating probably from the 1 Nyo's is an accomplish-
ed work by an artist unknown in this country.
I le was born at Versac of Serbian parents in 1859
and was influenced by the German school,
w inning medals at Munich and Berlin.
It happened that H. II. La Thangue was born
in the same year. In an entirely different style
linked to French Impressionism, he painted about
the same time a picture called The March Month,
the spring sunshine lighting here and there the
sheep and lambs and the farmer loading the cart
in a landscape background oflcafless thorn trees.
La I hangue w as among those artists whose
rustic scenes were conspicuous at the Royal
Academy alter he became an Associate in iSyS
and a hill member in 1912. He died in [929.
I he latest in the series ot exhibitions ol work
by Royal Academy exhibitors opens .it New-
mans (43a Duke Street. St. James's, S.W.l) on
the 13th November. It promises to be as
successful as the preceding ones including
paintings by artists as diverse as Dame Laura
Knight, Sir William Quillcr Orchardson,
Abraham Solomon and Patrick Nasmvth.
Greuze Portraits
THE France in the Eighteenth Century exhibit
last winter at the Royal Academy did soi
thing to enhance the reputation of Greuze
his fine portrait of the bookseller Fram
Babuti. Shown at the 1761 Salon it was m
praised by Diderot. Greuze was then at
height of his fame. Thirty years afterw;
on the 28th day of Pluviosc in the year
Greuze was writing to the Minister of Interio
pathetic terms for the money that he might
able to finish a picture commissioned by
Government. At the age of seventy-five
artist found himself ruined by the Revolui
and was apparently unable to live by practL
the art that had once brought him univt
fame and much fortune. One can believe
when he writes, 'I have lost everything ex<
my talent and my courage'.
There is a Greuze portrait of a man at
Wildenstein Galleries (147 New Bond Sn ,
W.t) that was painted between 1792 and rJ
It confirms the fact that the artist had not los s
talent for it has not a little in keeping with e
style of Babuti's portrait; the facial facts, e
grey hair and white cravat express a powc il
realism.
In 179] Louis XV and Marie Antoin :.
trying to escape, were stopped at Varennes d
brought back to Paris. In 1792 the royal fai I
was confined to the Temple. The Legists e
Assembly was dissolved in September of it
year, the National Convention took its place d
the Republic was proclaimed. The Wilden n
portrait is so tar unidentified. Is it a inembi >!
that Convention ?
2. J. B. Greuze. Portrait of a man. l6j
inches. Wildenstein Galleries.
I
172
j ohn Everett Millais. Peace Concluded, 1856.
: led and dated 1856. Leger Galleries.
Van Balen, Kcirincx, etc.
I E exhibition of old masters now running .it
: Hal O'Nians Gallery (6 Ryder Street. S.W.i)
: tains a particularly tender picture of the Holy
: lily in a landscape by Hendrik van Balen
'5-1632). After studying with Adam van der
II 3rt he went to Italy and remained there for
years. Returning to Antwerp he became
ot the most successful masters of his time, so
:h so that many of his paintings were done in
iboration with Jan Brueghel, Snyders and
pr artists. His purity of colour is said to have
considerable influence on Rubens and Van
k.
nothcr Antwerp artist is Alexandre Keirincx,
ible for the tact that he visited England and
ited a series of royal Scottish castles lor
rles I. Keirincx is represented in this ex-
tion by a romantic landscape in which a
it tree is characteristic of his understanding of
)rcal form and leaf.
ietro Longhi (1702-S5) remained a distinct
onality as regards subjects at a time when so
ty Venetian artists were concerned with
<te. His intimate little studies of interiors with
res express their own happy elegance; and
picture The Artist in his Studio is a typical
j nple.
panoramic view of Rome recalls the Gcr-
L artist, Phillippe Hackert (1737-1*07) who
i for much of his life in Italy and enjoyed
.1 patronage from Ferdinand of Naples and
- Iierine of Russia.
An Admirable Millais
THIRTY years ago how some pundits on art
were scoffing at the works ot Millais. One might
then have bought something by him for the
proverbial song if the owner had been unwise
enough to sell it. As I have often remarked,
money and art are not necessarily related. A fine
picture is always a fine picture at any time, in
fashion or out. In fact, it is above fashion. Peace
Concluded, 1856, Leger Galleries (13 Old Bond
Street, W.i) commemorates the end of the
Crimean war. The model for the wounded
officer seated on the couch holding a copy of
The Times announcing that peace was Colonel
Malcolm Paton. Efhe Millais was the model for
the lady. The Irish wolt hound Boswell, also in the
picture, is the only pet that the Millais' ever
possessed and was bred in the Queen's kennels.
Ruskin greatly admired this painting although
his praise was somewhat fulsome. Peace Con-
cluded was exhibited at the Royal Academy in
1856, but it had been untraced at the time of the
Millais exhibition at the Royal Academy, in
1967. It is discussed in The Life and Letters of Sir
J. B. Millais, 1902, p. 290 etseq.
If only to see this one work it is worth a visit
to the Leger Galleries, but there are many other
fine Victorian and earlier paintings in their cur-
rent exhibition — a Pietcr Tillemans I 'iew oj New
Hall, Bodenhain, an F. W. Watts, on Constable's
ground, Dedliam Lock, two sporting Ferncleys,
and a John Ferneley, junr., a meticulous painting
of a British schooner and other vessels in a rough
sea, a robust portrait of Colonel George Augustus
North, third Earl of Guildford, etc.
Historic Sequence
THE picture of 1 1. M.S. Victory with the British
fleet at Gibraltar by Dominic Serrcs links up
historically with the aforesaid anonymous por-
trait for it was painted in 1793. In August of that
year Vice-Admiral Sir Samuel Hood, Admiral of
the Red, with twenty-two ships of the line in-
cluding the Victory arrived at Toulon with the
object ot checking the French fleet in that part
of the Mediterranean. The town had remained
royalist in sympathy and was being attacked by
Republican forces with whom Napoleon
Bonaparte was serving as an artillery captain.
Alter negotiating with the Toulon authorities,
the British fleet entered the port but could not
hold the town and put to sea again.
It is not generally known that the I 'ictory w as
forty years old when she fought at Trafalgar,
having been launched in 1765, She had, however,
been so completely refitted in [803 as to be
totally different in appearance, and then looked
much as we see her today, although another
refitment was necessary after the battle of Tra-
falgar.
How one ot the wooden w alls of old England
appeared when she first took the w ater is seen in
the launching of a two-decker at Deptford, .1
patriotically inspiring pointing by John Clcvcley.
senior (1712-77) which w.is exhibited originally
at the Free Society in 1776. It is one of the
most detailed tnd colourful ot several marine
subjects at the Rutland Gallery (22 Bruton
Street, W.i).
Painting from Nature
THE fastidious collector on the look out for
something exclusive and somewhat different
from the general run ot old and contemporary
masters is certain to find his taste gratified at
Messrs. Spink's galleries (King Street). An ex-
hibition there which opens on the lyth and runs
for about three weeks, under the title Painting
from Nature is confined mostly to landscapes,
birds and flowers and two eighteenth-century
artists whose works have seldom been 111 the
market are T. S. Robins, who concentrated on
flowers and insects, and Charles Collins whose
watercolour style with birds is conspicuously
interesting as regards colour.
Familiar as we are with Lear's tinted draw ings
of landscapes, it is surprising to find him work-
ing on such a scale in oils, to wit, Vorest oj
Bavella, Corsica, to the dimensions of 57 i • 95
inches, a very accomplished performance that
may well have been one of his last paintings, for
it was found on his easel atter his death. Samuel
Daniel, who lived and worked much in India, is
represented by an exotic study entitled Talipot
Tree, View in the Kiribagoda District, Ceylon,
which was exhibited at the Royal Academy in
1N12. Paul Sandby's Woodyard in Windsor Great
Park is a reminder of this artist's long and happy
association with the Castle and neighbourhood;
and David Cox's preparatory sketch of Knole
House and Park reveals his economic grasp of the
house's complex architecture in its arboreal
setting. The versatility of William Callow,
noted for his skill with buildings, is obvious 111
his beautiful watercolour ot a willow-tree.
Coming to more recent artists, there are four
admirable paintings by Munnings, the most
important being The White Canoe, 111 ,1 river
landscape, and which is reproduced 111 the
artist's Autobiography, Vol. Ill, p. 81, As .1 flower
study in oils Sir William Nicholson's I 'ase of
Lilies has that distinguished quality ot paint and
fluidity of touch typn.il ot this master. Works In
|ohn and Paul Nash, Ivor Hitehens and |ohn
Mmton are also included 111 ibis attractive
exhibition.
4. Alfred Munnings. The White Canoe. Signed.
Spink and Son.
'73
Art in the modern manner
ALASTAIR GORDON
I"
NASI I I IOUSE —wherein is the Institute of
Contemporary Arts gallcr\ li.is been lull
tins autumn of electronic sights and sounds. The
exhibition was entitled Cybernetic Serendipity.
The first word, Cybernetic, has a perfectly good
Greek pedigree and means steersman: serendi-
pity was .1 word coined by Horace Walpole to
describe the faculty of making happy chance
discoveries. Thus technical machinery, elec-
tronics, computers, electrical impulses and tele-
vision becomes the steersman tor creating fan-
tastic images, electronic music and concrete
ictry. The organise! of the exhibition, Jasia
Reichardt is careful to point out that the inten-
tion is to show possibilities rather than achieve-
ments.
As .1 non-scientific person I was totally be-
mused by the machines: how anyone under-
stands how they operate, let alone know s how to
make one is beyond me. I [owever we have to
accept the fact of electronics as a contemporary
marvel, and if we are concerned with the Arts
then wc must start examining how art and
science can live together and become living
through each other. Electronic music has been
the subject of i yperiment for twenty years, and
largely according to how well the musician can
control the machine, some genuinely attractive
music has been produced. There is a needless
objection thai it is machine produced, because
i vii ilin, a trumpet and an oboe are machines too
(though admittedly hand-operated), and in any
case electronic music does not attempt to com-
pete with the traditional instruments. Nor does
an electric box emitting a dazzle of coloured
light forms attempt to replace paint and canvas.
Computers have revolutionised science, but
when they enter the realm of art they are merely
showing far greater precision ol design and
fantasy of shape than the human hand and eye
can achieve on its own, and incredibly taster. I
am not underestimating the L( '.A. exhibition by
saying 'merely' in connection with the machines
role in art, but trying to get a sense ol propor-
tion into the sometimes Luddite attitude to the
science/art syndrome. In the visual arts it has long
been recognised that colours and forms can m
themselves, without reference to natural pheno-
mena, inspire feeling in those who look at them
and experience various mental messages. That
pai l of the brain that deals with intuition and
memory handles this. The intuitive side is,
paradoxically, more rigid than memory, since
ii i an't help conforming to known physical law,
whereas memory can have supernatural over-
tones. The computer, on the other hand, has an
infallible memory unaffected by unseen powers
of good and evil, but no intuition so that it can
roam free beyond our planet's conforming laws:
m a sense, it is too innocent and undominatcd by
the evocations that assail the human brain to be
restricted m the images it produces. It can there-
lore be an understandable possibility that com-
puters can help and enhaiK e '.he ai tist's imagina-
tion-and not only the artist, but also the
sc ientist who operates the machine.
This is in no sense a negation ot what art ,
stood for, that artists should be stimulated Ln
machines, as well as by lite. Artists cannot 1 )
being fallible and decpl) enmeshed in W01
influences, and so long as the human nid
(vastly more complicated that the most claboie;
computer that could ever be built) preserve-is
autonomy, no harm will be done to art, -id'
probably a great deal of good. The artist wl is
dominated by the machine and believes that- is
is an end in itself has ceased to be an artist d
has become an operator. The artist who o>
ates a machine, who exploits a machine, n
treat it as a launching pad for his own inspirai l.
The point, then, of this memorable exhibiui
is that it was postulating a very simple princ ::
art and science can teach each other, artists d
scientists can infiltrate into each other's worl
'( 'obalt is a divine colour, and there is not i«
so beautiful lor putting atmosphere arc id
things. Carmine is the red of wine, and I
warm and lively like wine'. These wore
Vincent van Gogh did not need the servic.of
a computer to arrive at some sun-drenched cs
landscape; the genius welled-up overflowii y.
unaided. In 1047 a grey w ar-exhausted Lo:pn
was treated to a Van Gogh exhibition, jhc
queues stretched down the steps oftheTatiJS
along Millbank. It w as a great light shining ;:cr
six years of dimness. This marvellous D|h-
man, whose profound humility marks hin mti
as one ol" the great men of our times, w.'.he
feast we needed in those innocent days iica
Above. Hugh Riddle ami Anthony Pritchett. Sidebands, 1968. Stil
kinetic sequence produced by ..n analogue system. Institute «l < ontem >
Arts.
Left. Mooing computer graphics: the outgrowth of human engifl
needs for .1 means of determining human capabilities. InstituteofC
porary Arts.
171
y a few knew or envisaged the technological
'ances of the next two decades. Now Van
gh is back this month at the Hayward
llery, and it will be interesting to see what the
ct will be this time. The climate is so differ-
, but I believe that our sophisticated society
1 be no less moved by a man who had a
pic but burning urge to transfigure nature by
We can only stand in awe at what Van Gogh
ieved alone, unencouraged, and unsung.
the two world wars recede further in time,
y become of greater historical interest. Their
■ct on art, both before they began (the grow-
symptoms) and afterwards, becomes
irer to us as the pattern can be more com-
hensively viewed. Although it can be seen
n great was the influence on art of these two
iclysmic periods totalling ten years, the war-
; itself gave birth to very little art ot any great
asting value.
"here is a combination of reasons tor this, the
st important being that the best an artist can
of an actual war scene is reportage. The re-
ting can be inspired as with Nevinson in the
t war, Paul Nash in both, and Henry Moore's
Iter sketch books, not forgetting also Stanley
■ncei's Burghclere murals. And in [945 an
inymous Russian artist showed me lite draw-
s he had done in a concentration camp that
indictment of inhumanity were as powerful
Goya's Disasters of War. But artists like
que, Leger and Max Beckmann, although
uenced by the war in which they fought .it
front, never painted the war itself. Official
' artists have made records that are triumphs
visual memory and technical skill, but the
y people who have been able to show what
ii in a battle environment are really like are
more daring film cameramen, who can take
i ime and movement as descriptive aids.
Vnother reason for the dearth of war artists is
battlefields arc without pictorial qualities. At
t they are landscapes, seascapes and airscapes
: include men and war machines, and for
st ot the time they look prosaic and only be-
le dramatic when destruction — particularly
high explosive or tire — is being wrought,
artist in wartime, therefore, can only store up
is or record scenes. Which is he to do? Most
at creative artists ignore the act of war, but
en they don't ignore it they are more likely
nakc a symbolic art from it, involving them-
es to the extent of commentary on death and
ruction. It is said that when the Nazis asked
isso if he had done Guernica, he replied, 'No,
J did.' In one respect, of course, Picasso was
I lg political, and this is the danger for war
its — propaganda is not good art, and is best
to the Public Relations men. It is significant
: German Expressionism produced hardly
war art. Marc and Macke were killed 111 the
at War, but none of those who survived it
ie pictorial comment except George Grosz
political satirist, and indirectly, Max Beck-
an as a cry for salvation. Yet one would have
pght Expressionism the ideal style! But not
ti the Abstract Expressionists after the last
made anything from the firing of big guns
he explosion of bombs.
Above. Richard Enrich. Destroyer picking up survivors. Signed. Imperial War Museum.
Below. Paul Nash. Battle of Britain. Signed. Imperial War Museum.
175
Continental Dispatch
FROM GERALD SCHURR
Guercino at Bologna
A PERIOD which undoubtedly bears the
stamp of the Baroque can he seen, at the
moment, in two exhibitions, one in Italy, the
other in Germany at Augsburg (see our October
notes). Bologna is paying tribute to Francesco
Barbien, know n as II ( iucrcino, on the anniver-
sary ol his death. T hese exhibitions, mounted
every two years in the Palazzo dell' Archinnnsio,
do more than confirm the importance in the
history ol art ol the works shown. They are
instrumental m reviving essential values sub-
merged in the whirlpool of ideas. The painter,
who did achieve tame, in the following century,
the eighteenth, by his independence and succes-
sive 'manners' and escaped from the rules of
classicism, was forgotten in the nineteenth. The
pu lures on show here until November 1 8th,
have been brought out tor the purpose from the
reserves ot museums where they were kept on
one side, and have been cleaned, restored and
revarnished to disclose an unexpectedly bold
and lively painter. His very numerous drawings
reveal in their treatment ol line surprisingly
modern tac hist techniques. As he pai.ited in
C en to (near Fcrrara), in Bologna, Venue and
Rome. ( iuen mo does not readily tall into one ol
the rather arbitrary categories of belonging to a
certain school which makes the task ot historians
easier. In any case it is obvious from the start that
he is one of the first, chronologically, ot the
Baroque revolutionaries influenced by Cara-
vaggio in his love ot contrasting lights which i
an unusual quality and an entirely new feelin i
the deliberately strange poses of his figures. I
Paris. Woman, from David to Picass
Till-, (ialerie Jean-Claude Bellier (32, avyc
Pierre ler-de-Serbie) is showing, from Nov 1-
bcr 20th to January 30th, more than So draw s,
watercolours and pastels ot the nineteenth d
twentieth centuries on the theme ot W01 1.
together with some sculpture by artists wl
work is inspired by the female form — Run
Maillol, Maltray, Xenia and Signori, Therijj
some very statuesque paintings by David, mc
cruel ones by I )cgas, some bv Puvis de C'hav ic
ot classic serenity. Among the Imprcssionis-a
1. Giicrrino. Si. fcromc of Aquitainc. Exhibition at Bologna.
1. This drawing by David is shown in the exhibition 'Woman tl>
the eyes of painters1 al the (ialerie Bellier.
176
I ular note is a delicate Berthe Morisot and
loir 'Fillette au tablicr rose'. From the iit7/f
w we find Chcrct, Villon. I nr.nn, Honnaid
i /uillard. Then follows the Folk Epoque with
t ise and Picasso, Fcrnand Lcgcr and the dis-
j ng Louise Hervieu. Briefly, a judicious
b e which, on a theme as old as the hills,
I rates the evolution of painting throughout
< tury and a halt.
Re-opening of the Grande Galerie
of the Louvre
'JWGS are happening at the Louvre. A four
c plan has been started which sets in motion a
j iletcly new museum policy. This involves
r dng away from a horizontal and sub-
i'ing a vertical scheme, chronologically
>. ing. For example: the chronological
r'-iing of different Schools in the same cen-
I has been abandoned in favour of grouping
y chools. The visitor who wishes to see
r h painting for instance, or Italian or Dutch
'i follow a logical and uninterrupted se-
ll :e. Two circuits are planned: one ot inastcr-
it > for tourists to see, tor example, and one of
S mportant works mostly taken from rc-
:i s where they were being forgotten. Morc-
v one must remember that the Louvre was a
Ik before it was a museum. Its original pur-
a j will be recalled by the restoration in the
II part (south of the Cour Carree), of the
I hi (now the Salle des Antiquites musulmancs),
I die des Gardes and the antechamber leading
li'ic King's bedchamber. Rest rooms are
liiied too to guard against the well-known
'museum fatigue' and also period rooms con-
taining paintings, sculpture and objets d'art of the
same period — not a new idea
The first phase of this work has been carried
out. The Grande Galerie is two-thirds open. At
the end of December will be the inauguration of
the whole of this 'back-bone' of the Louvre, a
huge passage 442 metres long linking the old
Louvre to the Pavilion de Flore. Since the time
of Charles I it has undergone many transform-
ations until today on the soft colouring of the
walls light falls from the windows where electric
light is switched on automatically to reinforce
the natural lighting when it is too dark — and it
will be interesting to see if this is better than it
usually is. Here, in accordance with proposals to
spread the display of French paintings from the
Salon Carre" to the second part of the Grande
Galerie which will be devoted to the Italian
School (from the Primitives to Corot), is the
seventeenth century with Le Nain, Bauguin,
Georges de la Tour, Poussin and Claude Gelee
paving the way to the most famous of the eight-
eenth century. In the gallery where the Mona
Lisa used to be, there are now paintings by
Watteau, Fragonard, Chardin and Boucher.
Paris— New York. European Painters
of Today
FIVE museum directors in New York, Pans,
Diisseldorf, Amsterdam and Stockholm have
chosen 50 artists each represented by two works,
who, in their opinion are representative of
present-day trends in Europe. This selection,
organized with the help of the Mead Corpor-
3. The Grande Galerie renovated at the Louvre.
ation.is on view at the Musee des Arts Decoratifs
(107, Rue de Rivoli) in Paris until November
17th. The canvases will then be sent to the
U.S.A. and will remain in each ol the lug
American museums: New York, Washington,
Chicago, San Francisco, Atlanta and I (ayton.
Paris. Treasures for the Musee Carnavalet
ON her death three years ago, Mine Bouvicr, an
antiquarian of Versailles well known to lovers of
eighteenth-century French furniture, bequeathed
the best of her collections to the Musee Carna-
valet (23 rue de Sevigne). 234 pieces of furniture
and obji'ts d an are now installed in 14 rooms
with eighteenth-century panelling painted as it
was originally 111 size paint in clear colours.
Every piece is of highest quality and comes from
Parisian homes dating from the end of the reign
of Louis XIV until the Revolution. The bright
blues, yellows and greens ot these Rcgencc or
Louis XIV panels, the various .intiuue' curtains
create an intimate background, as it the place
were lived in and well loved, lor the furniture,
porcelain and bronzes which, during her life.
Mme Bouvicr had collected with rare dis-
cernment.
4. Louis XV secretaire, stamped Delornic,
height 106 cm., marquetry in tulip-wood.
Bouvicr bequest, Musee Carnavalet.
5. One of a pair of Louis XIV gueridon tables
in Houlle marquetry of pewter and tortoise-
shell. Bouvier bequest, Musee Carnavalet.
177
Art news in pictures
Left. Purchased with the aid of grants, particularly through the death i y
fund, from the executors of the late Hon. Mrs. A. E. Pleydell-Bouveri y
the Walker Art Gallery, Liverpool, this painting by Edgar Degas: IVt n
J rotting, oil on canvas, 31 J 25 inches.
Above. The Waterfalls, Pistil Mawddach, Xorth Wales, painted by Sat ;1
Palmer following his visit to North Wales in 1835. A recent purcha; 1
the Tate Gallery, the work dates from just after Palmer's Shore 11
period, during which time he produced his most famous works such aju
Tate's Coming front Evening Church, but shows a more direct though I
haps less individual approach to nature.
Below /<;/?. This pair of 17' inch long silver-gilt ceremonial Charles II M s,
the heads embossed with the royal arms of the Stuarts and the 1 al
badges, the butts with a representation of the borough seal and si ii
with the arms of Trelawney and Seymour (no marks but of date r. Jo)
and the one inch diameter, fourteenth-century borough Seal, in la|n,
have been stolen from the Old Guildhall, Looe, Cornwall. Inform |
leading to their recovery is requested by Devon is; Cornwall Constats y,
Liskeard.
In Brief
Curienl iimubei oj ROTUNDA, bulletin 0/ the Royal Ontario Mu fl
Toronto {Director, Petei C. Swann) announces a number oj new acquisi |
including: a Late Ming Dynasty lacquer box; ,1 Scottish Privy Purse in cr I
velvet embroidered with silver thread which formerly belonged to the istE M
Marchntont, Lord Chancellor for Scotland (1696-1 702) ; a carved pine c I
table of early French-Canadian form attributed to Louis Aniable Quevulon I
a three-tiered cliaudeliei from St. Augustin, Quebec dating from the first qua{ I
the nineteenth century.
National Maritime Museum, Greenwich, has been redesigning ttt'oga.to\
in it^ east wing primarily l<<i the display oj some oj the best of the ttiujfl
collection <»/ nineteenth-century maritime paintings.
Temporarily on display in the new galleries ate the two 1 .outherbouS
'( lamperdoivn' ami the 'Nile', whit h are on loan lot tin indefinite period.
Herbert Schiffer (600 II'. Lincoln Highway, Exton, Pennsylvania igy M
collecting material for a booh on Atnerican ami English eighteenth- ana Km
teenth-century miniature furniture and would like to hear from owners Will I
have their pieces recorded.
'English and Irish Class, A Guinness Signature', is the title oj a scries \n
attractively produced, well illustrated booklets compiled by Geoffrey W ill
each from ( ,uinness, P.( >. llo.x 26, < •uildford, Surrey.
International
Saleroom
1. South German writing cabinet. Mid i8th-
ccntury. 78 56 inches. £2,700 (Sotheby's).
2. Jeremiah Meyer. A lady with a pink ribbon.
Height 3s inches. £1,000 (Sotheby's).
3. Extremely rare silver spoon from Vii, Sweden,
by Povel Nielsen. Va was destroyed in 1614.
5,200 kroner (Arne Briiun Rasmussen, Copen-
hagen) £1 — 17.96 kroner.
4. Albrecht Diirer. The Baih House. Woodcut,
Meder B impression. £1,365 (Christie's).
5. Benjamin Franklin. Black basalt medallion.
Height 2 inches. Impressed Wedgwood &
Bentley mark. £105 (Christie's).
6. Extremely rare Longton Hall Scops owl on a
Fiirstenbcrg socle. Overall height 8,' inches.
£1,050 (Sotheby's).
7. Claude-Joseph Vernet. La collation sur I'herbc.
0111.26 0111.42. 66,000 francs (Palais Galliera,
Mes Ader, Rheums and Libert). £1 1 1.87 francs.
8. Thomas Patch. View of Florence from Bellos-
guardo. 43 88 inches. Signed and dated 1767.
£4,725 (Christie's).
9. Elizabeth 1 parcel-gilt covered cup, 1593
Height 7;i inches. Maker's mark a crown. 6 oz.
17 dwt. £4,200 (Christie's).
179
International
Saleroom
•4
'5 < y
13
10. Dominic Scrrcs. Shipbuilding at Blackm
Reach. 41 65 inches. ,£6,825 (Christie's).
11. John Wootton. The stinting post at Nt
market, 1716. 35/ 57! inches. £7,000 (Sot!,
by's). From the Duke of Portland for the Yi
Minster Fund.
12. Flemish ebony and tortoiseshcll cabinet. 1
century. 65 45 inches. ,£787 (Christie's).
13. Joseph M. Gandy. 'Design to connect
Entrances into Hyde Park and St. James's V\
with a Monument to commemorate the victoi
of Trafalgar and Waterloo, the entire Gri
forming the great western Entrance to Londt
Watercolour 16 50.I inches. ,£273 (Christie
14. Four George III bamboo armchairs in
Chinese style of William Chambers. £ 1
(Christie's).
15. Cieorge III silver stirrup-cup by Thoi
Pitts, 1769. Ov erall length 5.'. inches. 7 oz. 4 d'.
/J , [ SO (Christie's).
16. Rare Chinese white-glazed mythical Ir
fang dynasty. Height 8.5 inches. £525 (Ch-
ile's).
17. Milan faience dinner and dessert scrv
Felice Clcrici's factory, 1770. £13,125 (Cli I
tic's).
iK. Rare Wroxham bulbous ivg by Gco'f
Richardson, 1652. Height 4 inches. £llf
(Sotheby's).
19. Odilon Redon. / .untiere. Lithograph 15,
10J inches. £1,000 (Sotheby's). Victoria I
Albert Museum purchase.
20. Dutch silver beaker. Height 4] inc •
Possibly by Cornells C. Roos, Lccuwan
1622 3. 5 oz. X dwl. / I""- Dutch silver
cellar. Width 6} inches. By Gcrrit Vuystii
I he 1 (ague, 1658. 4 oz. 1 1 dwt. £H.s<> (Sotheb
GcmccntC Museum purchase.
I Ho
International
Saleroom
Books Reviewed
Thomas Chippendale and contemporaries
CHIPPENDALE FURNITURE: lis
Anthony ( lolcridgc. (Fabcr. £10 ios.)
MR. COLERIDGE's new book is the sixth
to appear in the I aber scries ol Furniture
Monographs; its main title is somewhat mis-
leading .is it does not, in fact, deal with .ill
Chippendale's furniture, but only with his
earlier work in the style represented in the
Director. The true si ope of the book is given by
the sub-title: 'The work ol Thomas Chippen-
dale and his contemporaries in the Rococo
style.' Chippendale's neo-classical furniture is
dealt with by Mr. Musgravc in .111 earlier pub-
lic ation in the series; there is, however, inevitably
some overlap, .is signs ol .1 classical revival can be
recognised in the early 1760s and even before;
not least 111 Chippendale's own Director, in the
third edition ol which .1 number of classical
designs take the place ol some of the more fanci-
ful ( 'hinoiserie oiks.
Die period of t went) years from 1 745 to 1 76s
is perhaps the most original and creative in the
history ol English furniture making and has been
the subject ol much research in rci ent years. The
foundations of us stud) were laid down by Mr.
Ralph Edwards and the late Margaret |ourdain
.is long ago -is i<;4 i in Georgian Cabinet Makers
and Mr. Coleridge is the first to acknowledge
the debt he owes to their pioneer work. I he
.nit h< vi has already published .1 large number ol
.mules on eighteenth-century cabinet-makers
and the present work combines the hints ol his
own researches with .ill that has been published
on the subject by other students. It contains .1
vast amount ol material supported by .1 lull
apparatus ol notes .md references to the appro-
priate authority.
1 he histoi y ol English furniture is notoriously
dilluult to write, lust and foremost because ol
the unfortunate failure ol English furniture
makers, with .1 mere handful ol exceptions, to
sign their work. Even when dealing with signed
pieces great caution is necessary. A case in point
is the oeut're that has been attributed to the'
Exeter-born cabinet-maker, |ohn Channon.
I Ins is based on the pair ol bookcases bearing
Ins signature at I'owdcrham Castle, Devonshire.
I he signature is engraved Oil an inlaid brass
plaque and the bookcases are profusely dec or-
ated with inlaid brasswork. A group ol pieces of
I urn it lire with similar mlaid brass dee oration .11 id
with Imely modelled and finished gilt-brass
mounts has been identified and attributed to this
line |ohu ( hannon. It is, however, unlikely that
( li.innon, the cabinet-maker, was also an en-
I11 must have' employed some specialist
working in the neighbourhood ol his
11 toi ne r ol St . Peter's Court in Si .
M. 11 in perhaps the Sw iss immigrc, ( i.
Mose ' , m is know n to have started work 111
London as a chaser o( furniture mounts. Moser's
services would, however, have been available to
any cabinet-maker who wished to make use of
them. In the same way brass mounts were pro-
duced by specialist brass-founders and it is un-
likely that any single design of mount would
have been used exclusively by one single cabinet-
maker. It follows that attributions should not be
made on the strength of any one feature such as
detail of ornament, nor on type of brass mounts,
wood or construction but on a combination of all
tour. In the c ase ol C hannon we do, in fact, find
this happy combination, but this is all too rarely so.
The group of commodes attributed to Pierre
Langlois (pis. 50-56) presents a number of com-
mon features, which once again justify their
attribution to a single source; they include the
design of the marquetry, construction, style and
brass mounts.
Existence ol the original bill is usually
accepted as the final proof of authorship of a
particular piece ol furniture, but even this can be
misleading. Certain branches of the cabinet-
making, as of other trades, were highly special-
ised; one of these was the provision of mar-
quetry either in the form of panels for mounting
or of finished pieces of furniture. It is quite likel)
that a cabinet-maker, who received a large order
for furnishing a house, would contract out to a
specialist for a marquetry e ommodc or table top.
Thus the bill mentioned by Mr. Coleridge in
Note s, p. 38, submitted by Cordon and Taitt
for supplying '2 Table frames' and then, as a
se parate item, '2 very rich Inlaid Tops' for them
does not prove that the latter were made by the
firm that invoiced them. They max well have
been obtained from Langlois or some other
specialist and retailed by ( iordon and I aitt.
It is unfortunate that Mr. Coleridge has
chosen to begin his first chapter with the famous
cabinet-maker, William Vile. It is, 111 the first
place, doubtful whether any e>l the nine com-
modes and writing tables described as 'in the
style of Vile' were made within the chosen
period of the book, and 11 is presumably for tins
reason that the commencing date is given as
circa 174s. More- serious is the fact that, as he is
the lust to admit in his text, the whole 'Vile
problem' is still a very open one-. In all, 37 pieces
ol furniture are illustrated, which are described
as by or in the style or in. inner of Vile. Ol these
only six are certain attributions, while two
others are known to have been altered by hint.
All the last mentioned date from alter 1760 and
not one ol them shows the boldly carved trusses
headed by lion masks and with overlapping
money pattern below which have, since the- lust
edition of Georgian Cabinet Makers, been attri-
buted with mole 01 less reserve to Vile. This
process ol arguing backwards from a cabinet-
maker's style 111 the 1760s to what it might have
been twenty years before is fraught with u
certainty, a circumstance that the author dc
not fail to notice.
i
Mr. Coleridge includes Benjamin Goodisi
amongst the masters working in the Direr,
tradition, although he was installed at the Sign
the Golden Spread Eagle in Long Acre as eaij
as 1727; that is, twenty-seven years before r
appearance of the first edition of the Direct
C )ne wonders, indeed, whether he does 11
have as good .1 claim as Vile to be regarded as t
author of the early commodes with lion's he
trusses illustrated in pis. 1 to 9. The mahoga
table-press at Holkham attributed to Benjan
Goodison is just as close to them as any oft'
documented Vile pieces. The presence ofalat-
gilt-brass handle in the centre of the carved ir-
on the side panel of this table-press suggc*
incidentally, that the removal of the simi
handles from the same position on the Ashbm
ham desk (pi. ?) after its acquisition by h
Victoria and Albert Museum may have been,
unwise step. The same objection that can J
made to the desc ription of Goodison as workv
111 the Director tradition applies also to si
makers as William Linnell, Giles Grendey a
William Bradshaw, all of whom were w
established before its publication. In any case
Directoi hardly c reated a tradition, for the sty]
represented was already becoming obsol
w hen the third edition appeared in 1762. It n
indeed even be questioned whether it 1
creative at all ; it may , like other pattern hoc
have reproduced — though on an exception,
extensive scale - the fashionable style of
period as practised by many other cabii'i
makers.
The chapter on Chippendale himself, wh
is the- book's main theme, is evidently the p)
duct ol careful research and like the rest of-,
book is very- fully documented both with q>
tations from contemporary sources, extti
from .11 counts and inventories. Here the auK
has shown commendable caution in mak
attributions; the problem is that most Ola
greater English country houses and many ofei
lesser ones as well have pieces ol furniture 1
1 ould hav e been made by c Ihippcndale, so \v
is the scope of the two hundred plates of '
Director. I le avoids on the whole the tcinptatn
of assuming that furniture in the Cliippenw
style 111 the houses of noble subscribers to1'
/ )irei tot must have been supplied by him, but
is surprised to line! the Badminton bed in ;
Victoria and Albeit Museum still describee
1 he- '( 'Iiippcndalc' bed, even though the ten
now put in inverted commas.
As the editor of the series rightly claims it
lorc word, we have good reason to be gral I
to Mr. ( lolcridgc lor assembling in one bool '
the extant information about English cabi ■
ers of the mid-eighteenth century together
, a full bibliography and references to relevant
unentary sources. The more one looks into
book, the more one is impressed by the
unt of documentation it contains. The illus-
Dns cover the field admirably and so large is
number that some have had to be repro-
d on too small a scale to be of use; and onc-
ers the large margins that might have been
e profitably used had the lay-out man
;d. As a whole this book is a remarkable
ivement on the part of a young man who
(bines furniture studies with a responsible
ion in a major London auction house. —
1.
iBLESSHIRE: AN INVENTORY OF
HE ANCIENT MONUMENTS: By the
>yal Commission on the Ancient and
storical Monuments ot Scotland. 2 Vols,
dinburgh: H.M. Stationery Office. j£ 10 ios.)
VE ten miles due South from Edinburgh and
will find yourself entering Peeblesshire, a
I county in the heart of the Lowlands,
ing round the valley and watershed of the
r Tweed: very hilly, moderately pictur-
and still largely given over to sheep-
ing. There are only two burghs: Peebles,
ounty town, a place of ancient foundation
^reserving few signs of it, and Innerleithen,
gh only since [868. This is the county de-
ed in the latest (seventeenth) Report of the
1 Commission on the Ancient and Histori-
lonuments of Scotland.
ie first volume, after the invaluable fifty-
introduction, is entirely devoted to pre-
■ ric remains of the second and first millennia
Peeblesshire has many lull-forts and a
. antial number of wooden houses, all more
;s circular, protected by palisades that were
it timber. This volume is a record of much
al and on some sites pioneer excavation, but
incipal appeal will be to the archaeologist,
e second volume, with many more illus-
>ns, holds more for the general reader, al-
*h architecturally one is bound to say that
esshire contains very few monuments of
nal as distinct from local importance. The
ing materials were mostly intractable: in-
ly hard shaly and conglomerate rocks of the
an and Ordovician series, with some Old
Sandstone — the only freestone — and Car-
erous Limestone to the north-west of the
:y. From the middle of the seventeenth to
liddle of the nineteenth centuries the Silur-
tales provided all the local roofing slates,
lg out the architectural history of several of
tfnore notable buildings, such as Traquair
e and Stobo church, has been hampered by
cottish addiction to barling — i.e. rendering
roughcast.
art from Stobo and the small Carolean
h at Lyne (both much restored) there is little
:eblesshire of ecclesiastical interest: the
y had only one monastic foundation — of
.arian friars, in Peebles itself. A large num-
t mediaeval and some later tower-houses
urvived, but with the exception of the
ruinous Fraser stronghold, Neidpath
'4-, none is of much account. A tower also
provided the nucleus ot Traquair, the most in-
teresting house in Peeblesshire ; but, although
remodelled and enlarged under William and
Mary, this place still retains its forbidding six-
teenth century aspect, with the towering height,
steep roofs and exiguous fenestration so com-
mon in Scotland. Only one other house in the
county is really impressive: Stobo Castle of
iSo s-i i. This, a work of the Elliot brothers who
also designed the still larger Taymouth Castle in
Perthshire, is externally a good example of
castellated Gothic corresponding, m England, to
Smirke's slightly later Eastnor, but, as at Payne-
Knight's Downton, the interior is almost en-
tirely Classical. The Survey is rounded off with
descriptions of corn and woollen mills, smithies,
farmsteads, bridges, pre-turnpike roads, quarries,
mines and so on.
As is customary with the Scottish Royal Com-
mission volumes, each entry is dated, the
National Grid references are included, the num-
bers of the relevant monuments are printed at
the top ot each page and the plates are all group-
ed together at the back ot each volume: lour
practices which it would be good to see followed
in the English productions, which up to the
present have been less considerate to the user.
Unfortunately there are still no marginal plate
references. Many people, too, would undoubted-
ly prefer less detailed descriptions of minor
buildings and a taster production timetable, lint,
given the terms ot reference, it is difficult to see-
how the work could have been better done. The
many drawings, plans and elevations are also
faultless. — A.C-T.
SILHOUETTES: By Peggy Hickman. Pub-
lished as No. [3 in the series Collectors' Pieces.
(Casscll. 12s. 6d.)
TO Mrs. Hickman, silhouettes have always been
an absorbing subject, not the least fascinating
side ot which has been the joy of discovering
hitherto unknown portraits of well-known
people. One such is that of Cassandra Austen,
sister ot the immortal Jane, by Miers, and now 111
the author's collection. This, the f irst inexpensive
'popular' book on Silhouettes to be well produced
and generously illustrated, and includes two
pages of colour plates. Mrs. Hickman writes
clearly and well, and has devoted much time and
thought in mastering her subject, which she
obviously loves. She has visited collections all
iwer the British Isles, including that of Her
Majesty the Queen at Windsor.
In the 63 pages at her disposal, the author
touches on the origins and methods of making
silhouettes; the periods 1 770-1820; 1S20-60;
America; and devotes ten pages to Odds & Ends
which includes silhouette jewellery. This is a book
to whet the appetite of a beginner — extremely
readable and a 'must' tor anyone remotely in-
terested in the subject. Although there is no
index, the illustrations are easy to identify and
are well placed in the text. — H.I >.M.
BOOK PRODUCTION NOTES
by Kuan McLean
Strip cartoons
Introduction a la bande dessinee Beige (Introduction
to Belgian Strip Cartoons) is the admirable cata-
logue to an Exhibition of Belgian Strip ( lartoons
New from Phaidon
THE ENGRAVED
GEMS OF THE
GREEKS AND
THE ETRUSCANS
Gisela Richter
The first comprehensive study of
engraved gems since 1900.
A selection of 876 gems brings
home the beauty and the interest
of these stones. 250 pp. text.
1,500 illus. of the gems and their
enlarged impressions.
2 colour plates. 1 3 in. < 9^ in. £18
FRENCH PAINTING
IN THE TIME OF
JEAN DE BERRY
The Boucicaut Master
Millard Meiss
An investigation of the probable
identity of the mysterious
Boucicaut Master. Most of the
principal miniatures and much
comparative material are
reproduced in the plate section.
3S0 pp. text. 497 plates (14 in
colour). 1 2 in. 9 in. S5s
Phaidon Press Ltd • 5 Cromwell Place ' London SW7
183
A History of
ITALIAN
FURNITURE
WILLIAM M. ODOM
A reissue ol the classic work b\ the former head ol
the Parsons School ol Design. It spans the cabinet-
work ni Italy from the XlVth to the early XlXth
century. Die hrst edition (ivis) «.is limited to 500
sets, .uiil now commands up to S200 .it auction. I he
new edition matches the original format: two folio
volumes, with .1 total of S30 pages and S70 plates.
We have added new prefaces, .1 bibliography, a lew
new plates, and .111 index. Pn »spe< tus available.
I ii't> volume ft'l, SXo.
HISPANIC
FURNITURE
GRACE HARDENDORFF BURR
\n illustrated histors "l tin lurmture "l Spain, trom
the XVth through the \ Vlllth centui ies \\ ritten by
the former ( urator ol Furniture it the Hispanic
Society ol Amciica, 11 includes ,111 illustrated 1 . 1 r . i —
logue nt the llispanii Society collection. Imnnii
/Avw'tjM magazine called the book "... the definitive
reference work tor scholars, interior designers and
collectors ol Spanish furniture".
ANTIQUE
SPANISH
FURNITURE
RAFAEL DOMENECH t\
LUIS PEREZ BUENO
\ bilingual edition of tin famous bunk by the first
I )irectoi i't the National Museum of Decorative
Aits in Madrid I he emphasis is mi pieces Irom the
Museum, partii ularly those lash ioned 111 the powerful,
iimple style "I the provincial carpenter.
I 1 1 I ARCHIV E I' K E S S
i MADISON AVI NhW YnHK 100J
. HislAI.I 1 1 N All I'll I I' A II) 1)11 Dl IIS
which was held in the Bibliothequc Albert in
Brussels Irom 2<; [une to 25 August 1968; and if
anyone dares say 'Why Belgian:' it is because
Belgium is the home ol Tin-Tin, probably the
most successful strip-cartoon character ot all
tune. At any rate, 111 the entry in this catalogue
under 1 Icrge, the Belgian creator ot Tin-Tin,
it is stated that ot I lergc's 38 published albums of
strips (ol whic h 22 arc about 1 111-Tin) around 1 2
million c opies have been printed : and deservedly,
since the artistic quality ol the Tm-Tin strips is
very high. Among the illustrations to the cata-
logue are a series ot fascinating pages showing the
genesis c it a Tin-Tin strip, which has never before
been published. The children's weekly Tin-Tin,
printed and published in Belgium, which does
not nowadays always carry a Tin-Tin strip, tloes
cc nit. 1111 .1 remarkably high standard ot drawing
'also ol humour); it is a pits that no children's
paper <>t this quality is published any longer in
the English language.
Provincial printer and publisher
William Davison ol Alnwick (Oxford, Clarendon
Press, 4_ss.) by Professor Peter ( . (I. Isaac, is a
charming and valuable addition to the literature
ol local printing history . 1 )avison (178 1 -1858), ot
whom no photograph or portrait seems to have
survived, was a remarkable character: he passed
his hie in Alnwick, the ancient counts town ol
Northumberland, and was. in that delectable
spot, both an active and sue cesstul pharmacist and
doc tot . and a notable printer, publisher, and man
ot arlairs — best known, perhaps, tor his associa-
tion with I hon 1. is Bewick, many ol whose cuts
he commissioned and published, but also a tine
decorative printer 111 his ow n right. This book is
based chiefly on material 111 the Constance
Meade Collection ol the Oxford University
Press (now housed 111 the Bodleian) and has been
superbly designed and punted by the Press. It is
pri itusely illustrated and is a cheerful example of
how good modern photolithographic printing
in 1 Ins 1 ountry e .111 be.
Methods of book design
ADRIAN WILSON's 77/c Design of Books
(Studio Vista, 7Ss.) is a lavishly illustrated
volume, tor book technicians. In a successful
American book designer. The book itsell
(measuring 11 si inches) is designed by the
author and has been well printed by Offset— litho
in the I niied States. It is an informal, even chatty,
book on design methods: the illustrations range
from reprodut tions ol the actual original layouts
tor the \11ren1hero Chronicle, 1493 (preserved in .1
bound volume in Nuremberg City 1 ibrary, and
never before published) and layout directions to
Rubens lor a title-page printed by Plaudit's
Press in 1614, to many reproductions ol modern
layouts by Wilson and other designers, and a
wide and catholic range ol contemporary
Aniern an and European book design.
Sonic ol the litho halt-tones ol bunk pages are
too foggy, in detail, lo do instice 10 the typo-
graphy ol the originals: but the reproductions in
line are admirably sharp. The Design ol liot<k* is
a personal statement giving valuable insights
into the ex< itements and enthusiasms ol a book
designer's hie.
New illustrated Old Testament
THE new Oxford University Press illustr. 1
Old Testament is going to be one of the nw
interesting book design events of its period,
entire Old Testament and Apocrypha are bJ>
published in s volumes (3 in ic/>N, 2 in 196c. t
Ms. each, illustrated by 22 distinguished 1 -
temporary British artists, not all of whom ill
Carel Weight) have ever illustrated a b;
before. The original drawings have been exlri-
ed 111 the Diploma Gallery ot the Royal BB
demy, and the Catalogue (10s. from Ox d
University Press) is a collector's piece itsel it
contains at least one reproduction and a pers 1]
statement by each artist. The statements var'is
do the illustrations, ot course) 111 importance, it
some are deeply moving, and all have sometl g
significant to say about the art of illustrate.
Main ot the illustrators admit that reading'';
partic ular book allotted to them (for only a v
tew could be allowed to choose) was a new :-
perience : and the chance to see drawings by n
Richards, or Peter Blake, or Hockncy (as wi is
Bawden and Ardiivonc) 111 an ( )/</ 7 estann is
going to send a lot ol people bac k to rea a
parts ot the Bible they have not read tor a j>
time.
BOOKS RECEIVED
(The inclusion ot a book 111 this list does >:
preclude us trom publishing a rev iew later).
An Album ot" Selected Bookbindings: v
Clara Louise Penney: Hispanic Societ if
America. New York, $10.00.
Korean Pottery and Porcelain of the fi
Period: By G. St. G. M Gompertz. Loi 1:
Faber. 5s.
Contemporary Japanese Prints : By Mr
Kawakita. London: Ward Lock and Co. .:
£10 1 os.
Arts of Japan: B\ Scroka Noma. L011J1:
Ward Loc k and Co. Ltd. £8 8s.
Old Glass: By O. N. Wilkinson, L011 1:
Ernest Benn 1 td. 4ss.
Walpole Society 1966-11168, Vol. XII:
EMBROIDERS I' A I 1 1 UNs c it IIH)M\s I Hl.Vli PMI
by |. L. Nevinson. a sin mi i~ra< 1 onIB
\i \ss wiin pic 11 11 1 s r.\ pn \i ASTErjDla
in 1 1 \ mary's i'samih In Francis Worl d./
hocarth's 'apoiocy 1 1 hi painters' )|
Mu hael Kitson. MR joshua Reynolds' si «-
111 » ik en 1 7 s S by Fills K. Watcrhouse. hSt
only to subscribers. Punted tor the Wa k
Si >< iel \ In Robert Maclehose c\ ( o. Ltd. tit
University Press. Glasgow W.3.
I he Marlborough Tapestries: By
Wace. 1 ondon: Phaidon. s(;s. fid.
The lives of Annibalc and Ago' 1
Carracci: By Giovanni Pictro Bi
I ondon: Amcru.111 I 'Diversity PubllSl
( Iroup I td. 17s fid,
Psychedelic Art: By Robert II. Master III
lean Houston. I ondon: Weidenteld
Nicolson. fi3s.
Victorian Pottery and Porcelain: H I
Bernard I lughes. I ondon: Spring Books |
rhe American Connoisseur
Inakes, snails and creatures
rith tails
alissy ware in the Metropolitan Museum
U CHRISTIAN DAUTERMAN
EVERY French schoolchild knows the story of the indomit-
able potter w hose poverty and determination impelled him
to stoke Ins kiln with tables and floorboards from his house. Al-
though dedicated to clay, art s humblest medium, Bernard
Palissy emerges (largely through his own writings) .is a vivid
Renaissance personality. I he bizarre rustic ware is virtually syn-
onymous with his name; it teems with the slippery and sinuous
animal life of grottoes. Made by the arcliitecte en oniric de tern to
the Constable of France and the queen mother Catherine de'
Medici, it became a fashion in the homes of the wealthy and a
domestic expression of that peculiar fascination which grottoes
held for the mind of Renaissance man. While still coveted for its
rarity, rustic ware remains only one manifestation of Paiissy's
work as an artist-potter.
The Metropolitan Museum possesses an exceptionally Luge
collection of Palissy ware, most of w hich was the gift of |ulia A.
Berwind. It embraces virtually every type of pottery thought to
have been made by Master Bernard. The Berwind collection of
itself offers adequate resources for inquiring into the potter's
position relative to the art of his time.
Bernard Palissy was born about [510 into a family too poor to
educate him; he nevertheless completed an apprenticeship 111
glass-painting and learned the elements of land surveying and
portrait painting. As an itinerant worker he travelled throughout
France, Flanders, and the region of the Rhine. Then, a young
man of perhaps thirty, he settled down 111 Saintes, about sixty
miles from Bordeaux. It was there that he acquired the status of a
legend through his extreme exertions in mastering the art of
making decorative pottery.*
Soon after establishing himself at Saintes, he was shown 'an
earthen cup, turned and enamelled with so much beauty, that
from that time I entered into controversy with my own thoughts.
Adapted anil reprinted from The Metropolitan Museum of Art Bulletin. Copy-
right > it)6j hy The Metropolitan Museum of Art.
nted terracotta bust, presumed to be a portrait of Bernard '
h, late sixteenth century. Height 28 .1 inches.
I85
2. Palissy-ware dish. French, sixteenth century. LcngthcjJ inches.
3. Details of an engraved design lor the border of a plate, by J. T. de Bry
(1561-1623) after Marten de Vos <>! Antwerp (1532-1603). German, Mrs!
quarter oi the seventeenth century.
4. Detail ot ,1 woodcut on leaf 1 1 , verso, of Hypnerotomachie by Francesco
Colonna, published by [acques Kerver (Paris, ■ _S4<'> ) -
lie de belle fculpture, en celte f
... I began to ilnnk that il I should discover how to make
annuls, I could make earthen vessels and other things very
prettily, because God had gifted me with some knowledge of
drawing; ami thereafter, regardless <>t the fact that I hail no
knowledge of clavs, I began to seek lot the enamels, .in .i id. hi
gropes in tht dark . I his passage is translated from the chapter
'Arte tie lerre in l'.iliss\ s Disconrs admiralties (I'. iris, 1580), .1 re-
counting in dialogue form of his experiences in potting and his
scientific virus.
I lie precise nature oi the nip th.it changed Palissy s life is not
known. There ts .1 tradition that it was the whiteness ol his
elusive model that sit Master Bernard off mi .1 quest for email
blam . Palissy s only testinn my on the subject is, 'I sought only after
white enamel, because I h.ul heard it said that white enamel was
Art
the basis (it all others . I his has inclined many to believe tha ii;
inspiration came from the newly developed white earthen :
then being made .it Saint-Porchaire, only nine miles distant 1 11;
Saintes. In actuality, the wares now associated with Pal
name do not include any wheel-thrown pieces to reflect^
mysterious 'turned cup , nor are any predominantly white,
instead, chiefly .is a colotirist in glazes that Palissy takes his
in the history of ceramic art.
Mis concern with colour is evident in the rampant displ;
strong, rich shades in his wares, with blue, green, and puijish
brow n predominating. I he blue is variable, but generally i-.:p:
the greens range from greyish and bluish to emerald. In aikjOU
there are touches of agate grew with creamy w hite reserve for
scattered elements of relief. The undersides appear even btjj
brilliant, being unbroken by ornament. "I here the previffl
colours are strong blue and aubergine 111 blurry streaks or pa £
suggesting tortoiseshell, agate, or occasionally pebble ol
amethyst and lapis lazuli as they might appear oil the bed [9
swiftly running brook. 1 he mottled colours are outline, bv
streaks of mossy green, or by irregular veinings of the \\H\'
background showing through.
It must remembered that at the outset I'ahssv knew nc ml
about clays, kilns, or the behaviour of colours during firhi I
the Disconrs admiralties he gives .1 sketch of the problei 1
faced: 'At last I found means to make several vessels ol difflji
enamels intermixed 111 the manner of jasper. That sustainqjl
for several years; but, while making a living from these t hi fin
sought always to make further progress, thus incurring ex] t]
and disbursements as you know that I .1111 doing still. Vv wk
had discovered how to make my rustic pieces, I was in 2 M,\
trouble and vexation than before: for having made a c tain
number of rustic basins and having fired them, my ci'*Mi
turned out some beautiful and well fused, others ill fused; '^9
w ere scon bed, because they were composed of different mawi
that were fusible at different temperatures the green I B
lizards was overtired before the colour of the serpents wa I
ilissy-ware dish. French, second half of the sixteenth century. Dia-
•r II li inches.
Ited; and the colour of the serpents, lobsters, tortoises, and
s was melted before the white had attained any beauty.' It
only after fifteen years of such struggling that Palissy pre-
cd to call himself a potter!
7c may suppose that Palissy's apprenticeship as a painter of
iow glass had taught him something about the ingredients of
versified palette. In his 'Arte de terre' he tells that his 'enamels'
lie made of tin, lead, iron, steel, antimony, saffre (oxide of
(alt), copper, sand, salicort (ashes made from the lees of wine),
rge, and stone of Perigord (probably a source of man-
I sc). Most of these are traditional materials in the potters'
ri' , used both before and since Palissy's day. With them one
c d make a lead glaze tinted variously white, brown, yellow,
d||, or purple. The wares of the contemporaneous German
iicr, or makers of stove tiles and other common pottery, off er
hi closest technical analogy. Their white was achieved by
dying a colourless glaze over white-burning clay, or by paint-
ajn areas of opaque tin glaze. In both of these wares white w as
is sparingly for accenting the more important elements of the
efts, much as it was used on gold by the makers of Renaissance
"i acl jewels.
lost Palissy products are dishes and platters, round and oval,
U>st always raised on a low spreading foot in the maimer of a
« , so that they stand clear of the supporting surface by an
M or more. Since they are moulded in relief, they appear ill
a to hold food, except for the jasperized dishes, which have
lfi receptacles, possibly for sweatmeats. In the main they are
I mental pieces, although the repertory includes such useful
lets as ewers, salts, candlesticks, sconces, wall fountains, and
M s.
|l addition to the continued production of this lead- I
■ ry in France after Palissy's death, variants in tin-glazed
6. Palissy- ware dish. French, early seventeenth century. Diameter 10 -jjr
inches.
pottery were made in England and Holland during the seven-
teenth century. One such is the Lambeth platter, dated 1664,
with the subject La Fecondite, given to the Museum 111 1941 by
Mrs. Frances P. Garvan. In the nineteenth century, Palissy ware
ranked among the most sought-after of ceramics. As a result the
market became flooded with forgeries, chiefly of French and
English manufacture. Spurious copies of the rustic wares in par-
ticular are believed to outnumber the genuine pieces.
There are no signed examples to attest to the hand of the
master. Attributed to Palissy w ith the strongest historical support
are the fragmentary lizards, caryatid figures, and other architec-
tural fragments now in the Louvre, in the Muse'e Carnavalet, and
in the Muse'e Ceramiquc de Sevres. These represent the remains
of a grotto which the master w as summoned to Paris during the
1 S 60s to erect in the Tuileries gardens. Even w ith regard to these
the credit is divided, for the royal account books for the project
list three Palissys: Bernard, and two others, Nicholas and Mat-
hurin, whose identification is obscure. A sharp demarcation can-
not be made as to authorship, with the result that the criterion
of quality alone has induced collectors and others to ascribe the
finest pieces to Palissy.
No detailed chronolog) of Palissy s work has been established,
nor is it known whether he ever discontinued any one branch of
his production. For certain models the relative age can be gauged
on the basis of the patterns and their sources, the clarity of the
modelling, the nature and density of the paste and the quality of
colour in the glaze. Palissy's own remarks in the 'Arte de terre'
provide a starting point for setting up a relative chronology. He
describes his first successful creations as 'vaisseaux de diuers
esmaux entremeslez en maniere de iaspe' (i.e., jasperized). They
therefore constitute our starting point. Four round and oval
dishes in the Berwind gift represent the type. Their centres arc
187
deeply concave and coated with mingled glazes. Sonic of the
oval examples have borders additionally ornamented with four
depressions similarly tinted. It may well be that these marbled
and mottled glazes arc an original discovery of Palissy's, as
credited to him by Serge Grandjean in his monograph
Bernard Palissy et son ccole (Collation Edouard de Rothschild) (Paris,
1952). In that case the jasperized ware of Saintes represents an
important technical achievement, duplicating the development
of multicoloured lead glazes in China during the T'ang period.
In contrast to the novelty of the mottled glazes, apparently
Palissy's own invention, the decorative scheme of the jasperized
vessels shows somewhat less originality. Consider the motif of the
endless cord that commonly loops about the lour or more vari-
coloured hollows in the borders (No. 2). The type is pictured
clearly among the cryptic symbols illustrated in one of the wood-
cuts (No. 4) accompanying Francesco Colonna's allegorical
romance, Hypiierotomachia Poliphili, published in 1499. That our
potter was familiar with the French edition is clear from a refer-
ence to 'the dream of Poliphilus' in his Recepte veritable, a book
published in La Rochellc in 1563. In the Recepte veritable Palissy
discusses his ideas for such varied projects as a 'delectable
garden', the first French essay devoted wholly to a garden pro-
ject. Ami we might even find the genesis of Palissy's jasperized
ware in this description from the text of the allegory: 'As full of
coulcurs as a Christall glass, repercust and beaten against with the
rays of the sun'. One can readily imagine the potter s mind turn-
ing from this to thoughts of the 'earthen cup, turned and en-
amelled'.
The reliefs between the hollows of the borders of this type of
ware are drawn from the general vocabulary of Renaissance
design. Mamlv, these are cornucopias, stylized rosettes, and oval
cartouches such as appear ubiquitously in ornament prints of the
time. It is possible to be more specific about the sources of
Palissy's tigural elements. For instance, the little heads that fill tl
spandrel spaces in No. 2 alternate in displaying feathered v/in
and chitinous wings. The idea occurs in an engraved design f
the border of a plate (No. 3) by J. T. de Bry after Marten de V*
of Antwerp.
Half a dozen shallow bowls make up the second type of Paliss
ware in the Berwind collection: their designs are suggestive,
goldsmiths' work. In colour they are closely allied to jasperiz
ware and should probably be regarded as a subdivision of tl
category. Three examples follow the general lines of the ta
jaspees in having mottled centres, though with the difference tL
the borders are characterized by openwork affording an interpj
of positive and negative elements in the design. When vievH
against a contrasting background, the effect is comparable to t :
of scrolls and arabesques of white silver applied as overlays udji
silver-gilt, as in nautilus cups, automata, and the like, by soji
German goldsmiths. The dish in No. 5 is notable for its retict 1
centre, resembling an intricate stencil.
The two remaining examples of the group are in contrast
the ajoure quality of the others. One is a scalloped round d ,
quite solid, with a radial pattern of gadroons (No. 6). Concen-c
zones of purplish brown and ivory attract the eye inward -
ward the abruptly concave centre, where it is held pleasai y
captive while sweeping from one to another of the minj 3
green, blue, and aubergine glazes. Last in the group is a be1!,
with relief ornament of six grinning masks, male and fen I
peering at the observer from a welter of green and blue leaf I
Each mask wears a spreading head-dress of leaves and a bib- I
festoon of drapery caught up in a knot at the ear. Here again I
conception is not without its counterparts in the embossed w k
of German sixteenth-century goldsmiths: for instance, des^is
for metalwork by Bernhard Zan of Nuremberg, active in I
1 580s.
188
?ad-glaze earthenware dish, manner of Bernard Palissy. French,
id half of the sixteenth century. Length I2| inches.
number of pieces in the Berwind collection illustrate the
i,t extravagant type of Palissy's products, the rustiques figulines
- '.stic pottery swarming with realistically modelled snakes,
lis, frogs, and other creatures. The oval dish or bassin is the
lit representative shape, and the complexity of decoration is
i,;tly proportional to the size of the vessel. The simplest
[ ng these is a composition of grape and oak leaves and other
\h twigs, some bearing fruit or nuts, all interspersed with
( :e shells (No. 9). Three larger vessels have their centres
* lelled as islands, each supporting a snake or lizard (No. 8).
1 ounding each island is a pebbled stream with swimming
! s in high relief. The borders of the dishes are treated as slop-
I janks, some simulating fossil-studded rocks of rough texture.
} these the denizens of grottoes — frogs, crayfish, salamanders,
t molluscs — alternate with ferns and leaves.
the Recepte veritable and the Disconrs admirables, Palissy des-
r ;s his exploration of hills and fields, with caref ul attention to
I' iat existed underfoot — as becomes a land surveyor. He speaks
f is intense curiosity about the shells trapped in the rocks on
j ntaintops and emerges as one of the first to realize the nature
r.i significance of fossils. Therefore it is not surprising that as he
i| ered the art of potting he should seek his motifs in the realm
fliturc. Creatures of the earth and water held endless f.iscnu-
4 for him. Practice in making the fishes, shells, reptiles, and
II ts for his pottery prepared him for his larger projects, the
■tectural grottoes of his middle years.
I'e have referred earlier to Master Bernard's familiarity with
mlypnerotomachia Poliphili. Perhaps the following passage, here
la from an Elizabethan translation, was one that fired his
■rination. It describes the entrance to an underground bath
■ :d out of the living rock, which the hero of the poem visited
Is travels in the dreamworld: 'The paued ground vnder the
<|r being of a diuers emblemature of hard stone, checkered
(I'e you might see marueilous graphics through the diuersitie
Si e colours . . . diuers fishes in the sides . . . and in the bottom
I museacall cutting expressed, which did so imitate nature as
' >' had beene swimming aliue. . . . The black stone of the
I was ingrauen with a leafework, as if it had been ilia—
l ced composition of leaue sand flowers, and the little shelles of
I -riaces, so beautifull to the eye, as was possible to be deiused.'
10. The Creation of Eve. Palissy-ware dish. French, second half of the six-
teenth century. Length 9! inches.
So true to lite are the animal and vegetable forms of Palissy s
rustic compositions that scientists have been able to identify them
with precision. This is not surprising, since most were cast from
actual creatures and plants, ostensibly after having been arranged
into a suitable composition upon a model vessel. From this
model complicated plaster moulds were made, and from these in
turn the pottery version received its shape.
In the sixteenth century naturalistic animals were not entirely
unknown in art. One has only to recall the bronze serpents and
frogs modelled by Andrea Riccio (1470-1 S3-) or the bronze
turkey hen of about 1567 by Giovanni da Bologna, now in the
Bargello, and made, incidentally, for installation in the grotto of
the Villa Castello, Florence. Another sculptural analogy is the
bronze lunette, the Nymph of Fontainebleau, by Benvcnuto
Cellini (about [500-1571), designed for the principal entrance of
the palace. In the centre is a trophy head of a stag thrusting for-
ward 111 the standard taxidermist's manner from a composition
otherwise in medium relief.
Whereas such examples are sculptural entities, Palissy's rustiques
figitlities 1\1n.ini domestic [lottery upon which flora and fauna
have been assembled in groupings so closely approximating to
nature that they verge upon being ecological studies. A related
but more diversified expression exists among German sixteenth-
century goldsmiths, whose works employ casual arrangements
of three-dimensional animals and plants on objects otherwise
highly sophisticated in design. Outstanding among these
masters is Wenzel )amnitzer of Nuremberg, who fashioned
lizards, fish, snakes, crayfish, and foliage to he attached at random
within the cavetto or upon the border of his circular basins. One
such is 111 the treasury of the cathedral ot Ragusa, Sicily (No. 7).
The same manifestation is to be observed in the Brcslau silver-
gilt nautilus cup by Casper Bendel (is7.S-1.Sy9) and in the superb
Augsburg automation, Diana and the Stag, by foachim Friess
(died 1620), both in the Metropolitan Museum's collection. All
these are allied to engraved designs tor silver cups by Albrecht
Diirer (1471-1528) and to numerous other ornament engravings,
especially those of Cornelis Floris II (15 14-1575).
Thus it is apparent that from Florence to Padua, from Nurem-
berg to Fontainebleau, and beyond to Anterp, the spell of
literal adoption from nature was in the air even before the life-
189
II. The Creation of Eve. Detail of a woodcut by Jean Cousin the Younger (1522-1594), published by Jean Le Clerc (Paris, 1614) in the second editi t|
an illustrated Bible with a manuscript title page inscribed Figures historiqucs du Vieux Testament.
tunc of Master Bernard. The individuality of Palissy's rustic
creations lies in the humbleness of his medium and in his appar-
ently haphazard disposition of his motijs vivants. This practice
stands sharply in contrast to the Italianatc tendency of his con-
temporaries, a tendency toward contrived, symmetrical patterns
as in the design for a silver cup. dated issi, bv Mathis Zi'uult of
Nuremberg.
1 he fourth and last division of Palissy-warcs in the Bcrwind
collection consists mainly of pieces in which the borders, unlike
the preceding examples, are distinctly subordinate to the pictorial
interest of the centres. The typical shape is a shallow tazza, the
interior of which is moulded in relief with figures in landscapes,
framed by a steeply rising border of static repeats such as gad-
roons or stiff floral stalks.
Among tigural examples in this collection five are modelled
with religious subjects, extremely rare in Palissy's work. While
it is not known precisely when the production of such wares
began, one may help to fix the group in time. The Creation of
Eve (No. 10), a glazed relief in green, blue, and aubergine, with
touches of yellow, is virtually a mirror image of .1 print attributed
to a contemporary of Palissy's, Jean Cousin the Younger (No.
i J. The dish bears a cryptic mark, resembling a monogram, on
die trunk of the apple tree, which is not in the print.
The Sacrifice of Isaac, another in this group, serves to rcmi u*
of the endlessly varied interpretations of the subject that had ta
made since the beginning of the Renaissance. The other reli >ffl
subjects are Christ and Two Disciples, Christ Washing the eel
of His Disciples, and the Decapitation of St. John the Bapti I
the seventeenth century or later.
An assortment of vessels with mythological and alleg' am
reliefs completes the survey. Offering particular insight,i»
Palissy's source is a dish (No. 14) with rosette-studded horde,™
centre occupied by a nymph who reclines among rushe im
leans upon an overturned yellow jar from which water <«■
copiously, while two dogs approach cautiously from the left da
subject is unmistakable: it is the Nymph of Fontaincble ■
depicted in the fresco painted by Rosso in the 1550s tor the "ai
gallery of F rancis I at the palace of Fontaincbleau. The sceno*
illustration of the allegory of the discovery of a clear sprin (rJ
presented as a nvmph) by a royal hunting dog; at this sp< ' >j
royal residence w as built. Since Palissy was nearby in Paris diw
the 1560s, it is not unlikely that the original painting \vj' »l
known to him. Rosso's fresco, moreover, was copied by f*
Boyvin (No. 13) and issued as an engraving, which Paliss'aW
might have seen.
Just as Boyvin chose to improve' the composition by cAm
I rushes to lean in the breeze, so also has the artist-potter im-
1 vised by adding a dragonfly. This, then, is the significance of
1 nymph: that the school of Fontainebleau was an important
f ree of figural themes and compositions for these wares.
iPne of the most engaging vessels in this group is a deep egg-
|>ed cup within which are posed Ceres and Bacchus, embrac-
I (No. 12). The subject is not traditional, and is perhaps even
I nown, in classical sculpture. In the sixteenth century, how-
1 •, the two figures were symbolic of Summer and Autumn,
ectively, and they were so used in the decorations ofth< b ill—
m at Fontainebleau, painted between [551 and 1556 under
the direction of Primaticcio. The interior walls of the cup are
glazed in rich blue and modelled, appropriately, with grapevines
and wheat in relief.
One piece deserves special attention, for its figural relief has
known counterparts in metal. This is an oval dish with a flat
border called, after its primary subject. Pomona or La Belle
Jardiniere (No. i s). The bare-bosomed figure, clad in a long blue
gown and loose green mantle, sits majestically beneath a tree,
with gardening tools scattered at her feet. Her hair is dressed
with flowers, her outstretched right hand clasps a bunch of fruit
and her left arm embraces a bouquet of lilies. In the background
191
15- Pomona. Palissy-ware dish. French, second half of the sixteen
century. Length 13I inches.
WW
is a formal garden with two female gardeners and a ploughman,
undoubtedly Vcrtumnus. I he sharp perspective of the enclosing
walls converges upon a chateau.
I he picture in toto may be composite; the figure of Pomona,
however, is not without sixteenth-century counterparts. First
evidence in th«' search for her antecedents is at the Louvre, where
ma\ be found two matching basins, one in pewter, the other 111
Palissy-warc. I he glazed pottery basin is apparently a direct cast
from the pewter basin. In the cavetto are five medallions, the
central one captioned Temperantia, giving the basins their name.
In the pewter version, at the lower left corner of the dais upon
which the central figure sits, are the initials F B, for the pewterer
Francois Briot (about 1550-after 1616); his portrait mcdallii
inscribed with his name, appears on the reverse of the basin.
Surrounding the Temperantia roundel arc oval cartoucl
representing the Four Elements, and those of Aqua and Terra:
especially related to the pose of our Pomona. It is quickly cvidc
that Aqua (No. 16) comes close to being her mirror image. T;
frontality of the shoulders, the outward turn of the head, t
slight crooking of the lowered arm, and the sharp flexing of t
nearer leg — all are present in both figures. The chief modifii
tions are that Aqua's elevated arm is straighter and almost ho
zontal, and her bubbling fountain has been transmuted intt
rosetted round cushion for Pomona. Next, a glance at Tc
shows her outstretched arm to be in exactly the position
Pomona's, even to the manner of clasping the foliage in 1
hand. The suggestion that the same source of design was used
Briot and the potter is almost inescapable. What was t .
source? Possibly the Palissy Pomona basin was again a direct c
from some pewter original; possiblv an engraving was adap
by the designers of both the Temperantia and Pomona basins,
any rate, Pomona, Aqua, and Terra find a least common ij
nominator 111 the mannered nudes of Fontainebleau, ami
which Primaticcio's Diana, in the Gallery of Henry II, is not
be overlooked.
The Temperantia basins at the Louvre help us to underst;
better the last of our Palissy items, a delicate little ewer (No. )j
Each basin was designed to serve as the stand for a similar cw;,,
featuring medallions of Faith, Hope, and Charity. Several s:|ii
ewers in pewter are known; our piece is a pottery version of < :
formerly in the Nordbohmisches-Gewcrbc Museum in Reich-
[ Pewter ewer, by Francois Briot. About 1585-1590. Formerly in the
I dbohinisches-Gewerbe Museum, Reichenberg. (Plate VI from
F 1901s Briot, Caspar Enderlein und das Edelzinn by Hans Demiani.)
t g (No. 17), which has been widely published. The Berwind
: *r, together with its matching basin at the Louvre, offers a
f ne example of the direct duplication of pewter in Palissy-
« :e.
he painstaking studies made by Tuetey and Demiani in the
I quarter of the nineteenth century have firmly established
: t the pewter originals were made by Francois Briot during the
i os, most likely between 1585 and 1590. By that time, Palissy
I i an aged man who probably had given up active potting. In
ij event, he spent the last two or three years of that decade in
I Bastille, a victim of religious persecution, and there he died.
I -rcrore it is generally conceded that these castings from
iyter must be credited to Palissy's atelier and followers rather
■:| 1 to his own hand.
18. Palissy-ware ewer. French, late sixteenth-early seventeenth century.
Height II inches. Cast from pew ter original by Francois Briot of about
1 585- 1 590.
Long regarded by his neighbours as tool or knave, Palissy
lived to see his efforts extolled in the purple prose of Pierre
Sanxay, who wrote the following panegyric as .1 dedication to
the potter's Recepte veritable: 'The before-named trifling works
namely, the Straits of Gibraltar, the monuments of Greece, the
Pyramids, and the Coliseum, required thousands of makers, but
the best of them was not equal to a basin made by you, Palissy
alone. . . . The ancients counted seven wonders in the world; had
they seen yours, it would have ranked before the first.'
NOTE
*A sketch of Palissy as a humanist, author, and unshakable Protestant appears in
an article, 'Portrait of a Potter' by (olm Goldsmith Phillips 111 the Metropolita
Museum Bulletin ol May 1947. The article also describes a terracotta bust presume
to be a portrait of Palissy (No. 1), given to the Museum in 1041 hy Gcorgi
Blumenthal.
'93
French bronzes in New York
t. Robert Lc Lorrain (1666- 1 748). Vertumnus and Pomona. The original
model was exhibited in the S.iloti of 1704. Height: lH\ inches (17 cm.).
Private Collection, I ondon.
DURING November and December .1 large exhibition
bronzes is being held at the galleries of Messrs. Knoedler's
New York. It has been organised jointly bv the firm of Mich;
Hall Fine Arts Inc., New York, specialists in sculpture, ai
Messrs. Alavoine, the well-known Parisian interior decorate
and art dealers. The exhibits are drawn from a variety of sourc
ami include a number ot loans from museums, notably t
Metropolitan Museum, the William Rockhill Nelson Gallery
Art, Kansas City and the Fogg, as well as from private collectc
in Europe and the United States.
Although the exhibition includes a number of Italian. Flemi
and German bronzes ot the Renaissance period, it is parricidal
interesting on account ot the inclusion ot a large group
French examples ot the seventeenth and eighteenth centuries
class ot bronze which has been neglected bv museums a
collectors in recent times. The excellent illustrated catalogue
preceded bv a lengthy Foreword bv Mr. F. J. B. Watson, c
titled .-I Plea for the Study ot French Bronzes. In this he points c
that the late Dr. Bode, bv his policy ot buying Italian bronzes I
German museums and private collectors like the Beits, Werni
and Pierpont Morgan, produced a revolution in taste. From 1
eighteenth century down, at any rate, to the time ot the Spa
Lean Exhibition at South Kensington in 1862 and the Mu
Retrospectij of 1 865 in Pans, French bronzes of the baroque a
rococo periods were highlv appreciated and were almost the 01
sort collected apart from the bronzes ot Giovanni Bologna. In 1
nineteenth century, Lord Hertford and George IV, amon
others, paid very high prices tor French bronzes; and even asl
as the San Donate sale of 1880, a pair ot bronzes by Giradon si
tor 12,600 francs each. But the publication ot Bode s Die Itali
ischen Bronze statuetten der Renaissance put paid to all that and in
present centurv French bronzes have been almost complet
ignored.
As a striking instance ot this he quotes a recent writer's ass •
11011 that in the eighteenth centurv 'the small bronze statue
suttered the most complete rejection in its history since the ca1'
renaissance' and that its place was taken bv 'the porcelain figuw
the miniature marble and the terracotta'. \X ith his intimate know-
ledge of the interior decoration of the period, Mr. Watson i|
little difficulty 111 producing a wealth ot evidence from guJ
books, sale catalogues, letters and even novels ot that day!
France to show that precisely the reverse w as the case. In f; I
dark patinated bronzes have never at any time in history play"
so prominent a role in the decoration ot houses as during i
rococo period. In the words ot one contemporary writer
quotes: rien nest plus convenable pour Li decoration and la c
traste ijiie forme hi couleur rembrunie des Bronzes avec la brilliant a 1
Peinture des Tableaux joint an vij eclat de lours bordures donne 1
coup d'oeil, de repos si necessaire pour produire un sensation aoreal
n an article which appeared in the Burlington Magazine in 1961
. Pope Henncssy summed up the findings resulting from the
at exhibition, Italian Bronze Statuettes, held in [960 at the
toria and Albert Museum and elsewhere. In this he declared
t 'for upwards of thirty years it has been an open secret that
icthins; is radically wrong with the study of bronze statuettes.
in its simplest form, it is that the minds of most people who
e thought about the subject are hlled with question marks',
anonymous writer on the same subject in the Times Literary
'plement complained more recently of the tentative character
nuch of the literature of the subject, adding 'probably if any
of the four or five scholars thoroughly familiar with the held
e to record his view on it, 20 per cent of his conclusions
aid be inacceptable to the other four'. The tentative character
>ur attributions of Italian bronzes is due, the same anonymous
ter continues, 'partly to lack of evidence, and partly to the fact
a reproductive process is involved. Even where the model
bert Le Lorriin (1666-1748). Andromeda, a version of a bronze com-
>ned by Pierre Crozat, perhaps after a plaster made by Jean-Baptiste I
yne (1661-1731) as his morceau de reception at the Academic H lyale in
It bears a French Royal inventory number. Height: 22, in
cm.). Private Collection, London.
can be ascribed with confidence to a known hand, it is not always
easy to distinguish later from contemporary casts or to dis-
tinguish between bronzes chased and worked up by the artist and
bronzes finished in his shop'.
The position as regards French bronzes is somewhat different.
The chief purpose of Mr. Watson's introduction is to draw
attention to the exceptional wealth of documentation which is
available, though, for the most part, entirely unexplored, on the
subject of French bronzes of the seventeenth and eighteenth cen-
turies, their modellers, their casters, their finishers and their dates.
The main sources to which he refers to are the sale and exhibition
catalogues of the period, especially the Parisian sale catalogues of
the eighteenth century; numerous guide books to the private art
collections of eighteenth-century Paris: and, above all, the im-
mense amount of material to be found, completely unexamined,
in the archives of the French Crown. A proper analysis of these
sources of information should, he considers, produce results of
great value for the study of the entire subject, especially it con-
ducted with an adequate assemblage of photographs of existing
bronzes.
Mr. Watson illustrates his claim by quoting certain instances
which, he declares, 'are merely the result of a hasty and some-
what superficial examination of a few sources which have fallen
immediately under my hand while writing this Foreward'. A few
of these examples are illustrated here.
3. Detail from a painting of the Cabinet Physique of Bonnier de la Mosson
by Jacques Lajoue (1686-1761). A bronze Andromeda similar to that in No. 2
can be seen on the shelf in front of the display cabinet. Collection Sir
Alfred Beit, Bart.
195
4. Philippe Bertram) (1664-174;). The Accomplishment of the I'ow of Louis
XIII. This bronze is signed and can be securely dated to 1 7 1 4. Height:
IS1 inches (46-90111.). The fVallaee Collection.
In the Salon of 1704 (Catalogue S xiii) Lc Lorrain exhibited a
small bronze, I ertunmus and Pomona. Examples of this bronze
are mentioned on several occasions in the eighteenth-century
sale catalogues with descriptions which leave no possibility of
doubt that the bronze illustrated here (No. i) corresponds 111
design to the bronze that Lc Lorrain showed at the Salon. Le
Lorrain seems to have specialised in small bronzes, frequently
casting and finishing small reductions of his master Giradon's
work for him. Few examples of the Vertumnus and Pomona arc
known today and the number mentioned in eighteenth-century
sale catalogues and other documents is small. It seems reasonable
to suppose therefore that the illustrated example was cast by the
artist himself, particularly as technical details of the casting con-
form to that of other bronzes known to date from the Louis XIV
Similarly, Louis (iougenot, 111 his contemporary life of Le
Lorrain, mentions that the great collector Pierre Crozat com-
missioned a small bronze Andromeda from the artist. Here
pictorial as well as written evidence can be brought to bear to
enable the model at least to be identified. In a painting by Lajouc
of the Cabinet Physique of Bonnier dc la Mosson (now in the
Collection of Sir Alfred licit) a bronze Andromeda corresponding
to the one made by Le Lorrain for Crozat can be seen (No. 3).
Reference to the Bonnier sale catalogue (collated with other
Ms...
5. Pierre-Philippe Thomire (1751-1843). Nymph Dandling .111 Infant St f
The podium on which the nymph sits is of brass. It corresponds
bronze, signed Thomire a Paris, in the Louvre, and is probably dat •
between 17S4 and 17H7. Height: 6^ inches (15-5 cm.). Private Collec .
London.
references elsewhere) shows that he did, in fact, possess sue 1
bronze and that it did correspond to the one made for Crc •
Thus the creator ot the model (No. 2) can be identified. The
illustrated, however, can hardly be the Bonnier example it,,
tor it not only differs from that in the shape of the base but b 5
an inventory mark suggesting that it w as in the French n J
collection in the early nineteenth century. This fact itself w< I
no doubt repay further examination in connection with I
journal dtt Garde Menhir de la Couronne de franco. The bn t
poses one curious problem. The composition corresponds 1 f\
closely to an engraving by Desplaces of a plaster Andrei t
attachee aux Rochers presented to the Academic as his morceo *
reception by [can Baptistc I Lemoyne in 1 ~ 1 o and w hich has <■
appeared today. Although Crozat seems to have ordered <
bronze Andromeda as a special commission from Le Lorrain. I
the artist merely fob him off w ith another reduction ot oneo B
master's large scale works rather than creating an original v »
of art for the occasion?
Signed bronzes are much more commonly met with in Fr t
than in Italy or elsewhere. Discussing these Mr. Watson qi'*f
numerous examples including the allegorical group of I
Accomplishment of the I 'ow of l.ont< XIII in the Wallace Collei I
(No. 4) which can be precisely dated to 1714 and the grot y\
Prometheus in the English Royal Collection. Both are signc 1
[96
er Guillaume Coustou (1677-1746). Marie
ska, Queen of France as Juno. Gilt-bronze
uon of the marble made 1726-31 formerly
; gardens at Versailles. It is now in the
■e- Height: 14 • inches (37 cm.). Private
turn, London.
197
7. La Frileuse. Bronze statuette by or after Jean
Antoine Houdon, r. 1790. I lie base bears
Houdon's signature. Height iH inches (45 7
cm.). Michael Hall Fine Arts Inc., New York.
H. Equestrian bronze statuette of the Gram! Dauphin, by or after Martin van der Bog
known as Desjardins, first quarter eighteenth century. Height: (including base) 22,' inches
cm.). Michael Hall Fine Arts Inc., New York.
Phillipc licrtrand (1664-1724) and the latter is precisely dated
aoust 1710. Presumably this is the tl.ttc of the model only but
it is unlikely tli.it the bronze itself was cist much later than
this. A further instance is the group of Hercules freeing Prometheus
signed fail par Lespigiiola , the example of which in the Griines
(icwolbeax I )rcsden is Ji >cumcntcd as having been delivered in 171s.
Pierre-Philippe Thomire (1751-1843) is another bronzier who
was generous in signing Ins bronzes in the prc-Rcvolutionary
period. Mr. Watson quotes a number of examples, such as the
reduction of Houdon's llcorche in a private collection 111 the
United States whic h is inscribed Fondu cisele par Thomire 1776-
A somewhat similar signed bronze after Houdon's La Frileuse is
intituled in the exhibition (No. 7). There is a whole series of
historical bronzes afte r the sculptor Dardcl 111 the Musec Condc
at Chantilly toda) all of which are signed by Thomire and pre-
cisely dated to various years 111 the mid-l78o's (another after
Boizot was illustrated in the advertising pages of Apollo si
April). The value of such signatures is exemplified by a s^w
bronze included in the exhibition representing a seated ny H
dandling an infant satyr on her knees (No. s). Though itselfl
signed, this corresponds precisely with a bronze in the LoJjc
signed Thomire a Paris and which can be dated on styfc
grounds around t 7 S s - On the question of dating bronzcs,»fc|
Watson discusses the value of the c rowncd-C, a poincon in ustM
tax purposes in the years 1745-49. 'n general this provides oil
terminus auto quern for dating works in bronze, for the n
applied to anything of that metal which happened to be Ol «l
in the years in question whatever its nature or age. In the «l
however, of the large equestrian statuette of Louis XIV A
Giradon in the English Royal collection (recently exhibit I
the Queen's Gallery George II' and the Arts ol France, a>|
No. 1), where every component segment of the bronze is s m
198
i the crowned-C, it seems certain that the statuette was
ally in the course of manufacture sometime within the
od 1745-49. Other datable examples of this type are known,
he most familiar type of French eighteenth-century bronzes
the small reductions of well-known public monuments. The
t familiar of these are the reductions of the equestrian monu-
its erected to the glory of Louis XIV during his lifetime and
various monuments (not all of them equestrian) set up in
our of his great grandson Louis XV. A number of examples
brought together in the New York exhibition (a variant of
of these, with a figure of the Dauphin replacing Louis XIV,
lustrated here, No. 8). Mr. Watson discusses a group of
e which was assembled by Louis XV and Louis XVI about
ch we are particularly well informed since there are records
ieir precise date and the names of the craftsmen employed to
them are known. He suggests that casts of this type were by
neans produced in very great numbers as is often supposed,
umentary evidence is available, for instance, to show that
reduced casts of Bouchardon's equestrian monument to
is XV were made at the period when it was being set up in
Place Louis XV (now the place de la Concorde) in Paris.
. number considerably exceeds the number of examples
wn to survive. Seven of them were cast by L. C. Vassc in
(. and two more a little later by f. B. Pigalle. Since the
surements (and even the weight of the latter) are known pre-
y it might be possible to distinguish between the two
s of casts.
ir. Watson touches, in passing, on the vexed question of
teenth-century casts of earlier French models. He believes
these are a good deal less numerous than is generally sup-
d and confined fairly closely to a limited number of models.
chief of these were the Versailles 'Rapes' and their deriva-
cumbent bacchante, attributed to Falconet, third quarter of the
ienth century. Height: 29 cm. Alavoine S.A., Paris.
tives, Pugct's Milo de Croton, the Ehcc et Anchise by Lepautt
amongst the Louis XIV bronzes, and, amongst eighteenth-
century bronzes, Bousseau's Soldat baudant son Arc, Falconet's
V Amour Menaccmt and bronzes after Clodion's terracottas.
Beyond these there were certainly many nineteenth-century
repetitions of reductions of the Chevaux de Marly by Coyse-
vaux and Coustou (though the latter are often confused with the
groups designed by E. L. Lequesne (1815-87) for the facade of
the Paris Opera House) and of the two equestrian monuments to
Louis XIV by Giradon and Desjardins. Hut he is of the opinion
that small casts of the less familiar public monuments of the
eighteenth century found today are far more often genuine
eighteenth-century castings than is usually supposed (No. 6).
It is hoped that some student or group of students will take
up the lines of research suggested in Mr. Watson's interesting
foreward. There can be little doubt that, it systematically
pursued, they would yield valuable results and would undoubted-
ly enable a respectably sized group of French bronzes to be
established each of which is datable within narrow limits and in
a surprisingly large number of instances, the names of their
modellers and (more rarely) casters, chasers and finishers known.
By using these fully identified bronzes as touchstones and pro-
ceeding by means of intelligent attribution and inference dis-
creetly used (in tact by doing exactly w hat Bode did with the
more scanty resources available in the case ot early Italian bronze
statuettes) it seems likely that we should eventually find that
more positive information is available about French bronzes of
the baroque and rococo periods than about any other type at all.
With such an increase in knowledge it is likely that a wider
appreciation and understanding ot these neglected sculptures
would be awakened.
10. Ncssus and Deianeira, French, c. 1690. Height: 20 cm. Alavoine S.A.
Paris.
I99
The American way with art
JOSEPH T. BUTLER, American Editor of The Connoisseur
Gods and Heroes:
Baroijue Images of Antiquity
AN important loan exhibition opened in
New York .it the Wildcnstein Gallery on
October 30 and will be seen until January 4, '1969.
This exhibition represents a pioneering attempt
to explore the Baroque period's many sided
concept of its classical heritage. It was during the
seventeenth century in Europe that a great
fascination and rediscovery ot classical antiquity
led to the first systematic exploration ot classical
lands, to an increased interest by scholars in the
history, mythology, and culture of the ancients,
and to romantic recreations of the past. At this
time antiquity came to be regarded as an im-
portant educational force not only tor aristo-
crats but especially for artists who began their
studies by drawing from casts and even when-
ever possible working from actual ancient objects.
This many sided interest in antiquity is seen
through the works of Rembrandt, Rubens,
Poussin, Poelenburgh, Claude, LeMaire,
Sweertz, Largilliere, Caravaggio, and Hubert
Robert. The exhibition was organised by
Harvard University's Fogg Art Museum and the
start carefully screened public and priv;
collections in North America to assemble
array ot paintings, drawings, sculptures a
prints of the highest quality. A thorougl
illustrated and highly scholarly catalogue I
been prepared by Eunice Williams. There .
several interesting instances in the exhibition
the juxtaposition of ancient works with th
baroque reinterpretations. The Wildensti
exhibition will benefit the Archaeological I
ploration of Sardis. The excavations are bei
carried on under the auspices of Harvard a
Cornell Universities and it will provide p;,
fessiona] field training programme for Amerii
and Turkish students.
American Art at the XXXIV
Venice Biennale
At the XXXIV Venice BIENNALE the Am.
can exhibition featured five painters and t
sculptors whose work demonstrates the p
tinuing vitality of the figurative tradition in I
nation's contemporary art. The international
exposition was held from June 22 until the 2
of last month.
I. Rembrandt Harmenz van Rijn. Juno. Oil on
canvas. Mr. and Mrs. J. William Middendorf II,
New York.
2. Salvator Rosa. Jason Charming tin- Dragon.
Oil on 1 .in .is. 7/ii Montreal Museum of Fine
Arts, Gifl ■•/ Miss Olive Hosmer.
_\. Bartolomcus Brcenbcrgh. View of'l'ivoli. Ink and wash on paper. The Pierpont Morgan l.ihrar;
200
wo of America's most distinguished and well
wn figurative artists — Edwin Dickinson,
iter, and Reuben Nakian, sculptor — will
e major showings. Dickinson will be re-
ented by paintings covering more than 40
s of his activity in the art world, and Nakian
1 group of recent works all completed since
;howing at the 1961 Sao Paulo BIENAL.
Hher painters to be represented are Fairfield
ter, Southampton, Long Island; James
3arrell, Bloomington, Indiana; Byron Bur-
1, Iowa City, Iowa; and Richard Dieben-
1, Santa Monica, California. Sculptors
)se works will be shown include Robert
mean, Tomales, California; Leonard Baskin,
thampton, Massachusetts; Frank Gallo,
•ana, Illinois; and Red Grooms, New York
ititled 'The Figurative Tradition in Recent
:rican Art', the American show was spon-
d jointly by the Smithsonian Institution's
onal Collection of Fine Arts and the Univer-
>f Nebraska Art Galleries, Lincoln, Nebraska,
le Venice BIENNALE dates back to 1895
with the exception ot the two world war
ods has been held every two years since then,
he first BIENNALE, ten countries were
;sented; at the last one in 1966, 36 countries
works of their outstanding artists,
le United States will be entering for the
ity-ninth time this year. In the 1S95 BIEN-
.E James McNeill Whistler exhibited .1
painting along with three other American
artists, and in 1X99 he and John Singer Sargent
were on the committee that had charge ot the
U.S. exhibit. Well-known American artists
w hose w orks were shown at those early BIEN-
NALES include Gari Melchers, Winslow
Homer, Abbott Thayer, Childe Hassam,' John
Twachtman, and many others whose names
figure prominently in the history of American
art.
The United States has also received the Venice
BIENNALE Grand prize three times. This
award, established in 193S, went to the sculptor
Alexander Calder in 1952, to the painter Mark
Tobey in 1 95X, and to the painter Robert Raus-
chenberg in 1964.
Prime concern ot the National Collection of
Fine Arts International Art Program is to show
American art ot as broad a scope as possible. The
programme also aims at affording a thorough
view of the institutions that foster the visual arts
in America. Accordingly persons associated with
leading art institutions throughout the country
.ire invited to choose U.S. exhibitions at ma|or
international art shows.
Americans will have an opportunity to sec
this exhibition in Washington at the National
C ollection ot Fine Arts Gallery, December iN
through February 2, 1969, and at the Sheldon
Gallery, Lincoln, Nebraska, March 17 through
April 1 5, 1969.
4. James McGarrell. R<iinhow. Oil on canvas.
Allen Frumkin Gallery, New York.
6. Marie Elizabeth Vigee-Lebrun. Princess Anna
Alexandrovna Galitizin. Oil on canvas, 1796.
The picture is chosen to show the mature late
style of the painter. The Baltimore Museum of
Art, Mary Frick Jacobs Collection.
irie Elizabeth Vigee-Lebrun. Count Shuvaloff. Oil on canva 1775.
I picture was chosen to show the early phase of Vigee-Lebrun's
lopment. North Carolina Museum of Art, Raleigh.
201
In Mcmorium Mrs. Alma dc
Brettcvillc Sprcckels
ART lovers everywhere have been deeply
saddened by the death in August ol Mrs.
Spreckcls. Sin.' will always live through her
great benefactions to the arts in her native San
Franc isc <>.
Mrs. Sprcckels w.is throughout her lite an
important figure in the art world ol America
and Europe. The collec tions which she formed
arc extraordinary. First is her collection ol the
w ork of Auguste Rodin, considered the tmest in
tins country. She also collected the works ol
Arthur Putnam, the San Francisco sculptor, and
those o! rheodore Riviere, all ot which she gave
to tin t California Palace ol the Legion ot I lonor.
Her taste w as extremely broad and this is seen
through the silver, porcelain, textiles, furniture
and, in particular, the Chinese export porcelain
collection which she also gave to the California
Palace ot the Legion ot I lonor. Sculpture and
drawings ot stage design and choreography also
tasc mated her and Mrs. Sprcckels founded the
Museum ot Theatre and Dance to display them.
In 1915, still .1 young woman, she attended
the Pan-Pacific International Exposition where
she especially liked the French Pavilion, a
replica ot the Palais dc Sahn, in which Rodin
sculpture was shown lor the first time 111 this
country.
She was so impressed with the building, she
wanted to preserve it as an exhibit hall tor San
Francisco. When she found out this was not
possible, due to its construction, she decided to
build a museum with permanent material, and
111 a more suitable location. The palisade site 111
Lincoln Park, overlooking the Golden Gate, was
her choice. The California Palace ol the Legion
ol I lonor, modelled on the Palais cle Legion
d'Honncur in Paris, was built and given to the
City 111 1924 by Mrs. Sprcckels and her late
husband, Adolph, as a memorial to ( lalifornians
who tell in France 111 World War I.
Mrs. SpreckeK was ,1 triend ot Loie Fuller and
it was through her that she met Auguste Rodin.
From this friendship came the first selections ot
Rodin sculpture tor the California Palace of the
Legion ol I lonor, personally c hosen by Mrs.
Sprcckels and the artist. I let" generosity was to
continue throughout her lite.
From El Greco to Pollock: Early and Late
Works by European and American Artists
I I II Baltimore Museum ot Art is currently
presenting an exhibition which suggests two
major phases in the development ot approxim-
ately seventy masters whose works span almost
lour centuries the earliest dating from 1 S70
and the most recent one from the 1960's.
Differences and developments will be shown by
the- juxtaposition ol a major early work with one
I I oin the late period ol the at t ist's c areer.
I he seventee nth and eighteenth centuries will
be gloriously represented by twenty-three
paintci , 1 ng them Rembrandt, Rubens,
Hals, Claudi Lorrain, Poussin, Gainsborough,
Guardi, I ragon.ird and ( loplcy.
Selections from the art of the nineteenth c en-
tury will me hide works by Turner, Constable,
Delacroix, Manet, Monet, Degas, Renoir,
( 'e/anne, van Gogh, (iauguin, Homer, Eakins
and Whistler.
The many different movements ol the twen-
tieth century are to he represented by 26 of their
most outstanding protagonists — among them
Bonnard, Vuillard, Matisse, Braquc, (ins, Klee,
Kandinsky, Mondrian, Hopper, Gorky and
Kline, lor a tair evaluation oi an artist's con-
tributions the termination ot his career has been
considered a prerequisite lor his inclusion. How-
ever, a lew exceptions to this rule will be made
by representing Dubuffct, Chagall, Miro,
Picasso and Tobey, the grand old masters, still
working today.
The exhibition, ot course, points out many
interesting aspec ts ol the creative process. _Sbme-
times similarities and in other instances great
differences are to be observed 111 this interesting
juxtaposition.
Dr. Gertrude Rosenthal, the Baltimore
Museum's chief curator, is in charge ot the show
and .111 extensive catalogue has been published in
connection with it. The exhibition will be seen
until I December S.
7. Miniature sedan chair of eosite with go
mounts in the rococo taste, with engraved roi
crystal windows, chased gold interior and go
handles. Hinged at the top. By the Russi;
Court goldsmith and jeweller, Carl Faberge.
La I 'ieille Russie.
S. Diamond tiara with individual floral motifs mounted on heavy gold wire, made so that one
more sprays of flowers may be removed and worn separately. Fifteen of the flowers are mount
tremblant. Probably French, early 19th century. Lint by the Smithsonian Institution , Washington, D.
i). Two unusual 'fantaisie' carved hardstone snuffboxes, mounted in gold. The panther on
left is of carved bloodstone with a carnelian tongue and diamond eves and teeth. The l><>\ is Gem
[8th century. The leopard on the right is of carved pudding stone with diamond eyes and is 1 ngl
isth century. Left: A La VieilU Russie. Right: Private Loan.
201
\rt of the Goldsmith and the Jeweller
)ST important exhibition opens the sixth
; month at the galleries of A La Vieille
in New York City. The exhibition will
the art of the jeweller and goldsmith trom
ith century Renaissance jewels to the work
1 Faberge. Approximately 3 SO pieces are
;d in the exhibition and they are evenly
i among gold boxes, jewellry and Faberge.
isis in the exhibition is placed on antique
nd jewellry and gold snuft-boxes ot the
;nth century. This is truly a show ot the
t importance and a rare opportunity tor
cans to see such riches displayed together,
of which are on loan trom museums and
• collectors.
of the most important items included is
31ue Venus'. This figure carved from a
re weighing approximately 400 carats,
on a silver trellis set with rose diamond
s. In the base is mounted a ruby intaglio
116 carats, engraved with the head ol
a. It was engraved at the beginning ot the
•nth century, being modelled alter the
entury BC Strozzi Medusa now in the
Museum. The seal was sold in i860 by
ike ot Braunsweig, who mounted it with
xe Venus. It was then purchased by Prince
>uport.
museums which are included are the
politan Museum ot Art, the Smithsonian
"ion and the National Collection ot Fine
he Baltimore Museum ol" Art, the Art
:e of Chicago, and the Boston Museum of
show, which is tor the benefit of the
Women's Christian Association, will
n the 23rd of November.
10. Important gold and enamel French 18th-century snurFbox set with
enamel plaques of mythological scenes after Dodin. By Jean Formey,
Paris. 1762. Private Loan.
Colour. Important nephrite vase in the form of an opening water lily carved
out of a single piece of Siberian jade, mounted in gold and enamelled in the
Renaissance style set with rubies and diamonds, by Faberge. A La Vieille
Russie.
II. The Blue I'cniis (UJt) carved from a sapphire,
stands on a sil\er trellis set with rose diamond
flowers. A ruby intaglio seal ( above) of 1 16 carats,
engraved with the head of Medusa, is mounted
in the base of The Blue I enus. Private Loan.
203
The Connoisseur Index to Advertisers
Acquavclla ( ialleries
Adams, 1 )avidson & c Co.
Ad.uns I td., Norman
Alavoinc
Alcoforado
Allen & Unwin, ( leorgc
Andr.uk-. R. & M.
Antique Company ol Nc
Antique I lypcrmarkct
Ari hive Press, The
Arditti, A.
Arons, 1 l.irry
Arpad Antiques
Am. in ( lallery
Asprey c\ Co.
Avmonier, Genevieve
XI
Inc. LX1I
Inside back cover
XLVI
C
LXXVII1
LXXXV1
w York. Inc., The
Inside front cover
XLV11I
[84
XL
XCVI
LXVIII
XXXVIII
XLII, XLIII
LXXVI
B.A.D.A.
Barrett & Son Ltd.. W.
Barrie Books
Berry-Hill ( Ialleries
Bigns of Maidenhead
Bivall, Bernard
Black ( lallery, Bernard
Bloom & Son Ltd.. N.
Bluett & Son
Bohler, Julius
Bolton C entral Police Station
Box No. 7435
Box No. "4'''
Brod < lallery
Brown, Kenneth
Brown, Peter Mack
Burge, C. P.
Butt's of C luster
( Caledonian, Inc.
I Carriage Trade, The
t Christie's
c Chernack, Harry
( Closson s
C Collet's
C Connoisseur — Art Sales Index
C Connoisseur — Books
t Connoisseur— Next Month
1 < mnoisseur — Register
( Connoisseur— Subscriptions
C r. uner, ( lalerie
t Crane Arts Ltd.
( Crowther <\ Son, I
I )alva Bros.
I >avid <\ ( Charles
I )eitsch Gallery, Peter
I hilphin AntK|ues
I >ombey, P. cS B.
I )rian ( ■.illeries
I Iriiwn, Willi. 1111 R.
I isier, I he ( luide
I iiL'lish ( Ceramic CircU
LX
LXXVIII
LXXX
CC
XVI
C II
LXXI.X
XXXIV
XIX
XXVI
I XXXVI
LXXXVIII
LXXIV
LXXI
XCII
Xc VII
L
LXXIII
Xc IX
XC
XII. XVI
LXXVIII
XC VIII
LXXXVIII
X
L
IV
1 XIV
XXVIII
Ll.X
XC
XXI
Farrington, R. A.
I edder, hie., Lelice
Ferrers
Fine Art & General Insurance
Frodsham, C harles c\ CCo.
Fry C lallery
Fu-Mins-Fair
V
XL
I XXXII
XC
XXXVIII
X( VIII
LXXXVI
LXXVIII
XCII
XV
XLIV
L
XC
LXXXII
( lander & White Ltd.
( larbe, G.
Garrard c\ Co. Ltd.
Ginsburg c\ Levy
( .Lusher c\ Nash
C Irabowski Gallery
C Irccian Gallery, The
C Ircen, Richard
( Iregory c\ C Co. Ltd.
Hall. Michael
Hallsborough ( lallery
Hammer ( Ialleries
Harris c\ Sons. M.
Harvey's
I larvey c\ Gore
I lei 111
1 lill, Harris & Go.
I lilton Gallery
I hrschl c\ Adlcr
Holborn Tableware Co.
I low of Edinburgh
Imperial fade Mining, Inc.
|acobs, I lenr\
Jeremy Ltd.
lessop Ltd.. H. R.
John, C.
lulian
Kaplan
Kave Ltd., Simon
Keil Ltd., John
Kennedy ( Ialleries
Keshishian, Mark
KlinkhofT Gallery, Walter
Knoedler. M. c\ C o. Ltd.
Koctser, Brian
Koetser, Leonard
Kimel
Laing Art ( lallery <S Museum
Lee, Ronald A.
Lefevre ( lallery
Le Perc, Iih .
Lcvenc, M l'.
Linolite
Mallett t\ Son
Manhcini, I >. M * I'.
Maple & C Co. 1 td.
Markarian, R. R
Mayorc as Ltd.
McC orunc k. Ralph
Mm hell & Son, John
Ncwhousc C Ialleries
Newman I tel., M.
LXXXVIII
XCVIII
XXIV. LXXXVIII
LXVIII
XXXVI
• xc:
LXX
XIII
LXXIV
LXXXIX
LXXVIII
VI
XXV
LXIII
XXXIII
XVIII
xc ix
L
111
LXXXVIII
LXXX
I XXXIV
xc
VIII, IX
L
XX
LXXXVI
XX1I1
XXII
LXX
XCVII
XCIV
Xc V
III
XXXIX
XLIX
I XIX
LXXX
liii
XLVII
LXXXI
L
1 XXVI
1 VIII
XXXVI
XI IV
Xl VIII
xxxiv
I XXVI
XXXVII
I XXXV
XXIX XXXII
Old Masters Gallery
Omell Galleries
O'Nians, Hal
Page, Brian J.
Paris — Auction Sales
Partridge & Sons, Frank
Paterson, Charles CC.
Peel X Co. Ltd., I Oavid
Perez
Phaidon Press
Phillips Ltd . S. i
Porter, R. E.
Pratt, Stanley J.
Preston Ltd., Rupert
Prcstons Ltd.
Price Gallery. Vincent
Prides of London
LXC
LXXX\
LXV-LXVII, LXC
X(
LXX
X
x>
Outside back a
LXXX i
X>l
Rowlands Antiques
Rutland Gallery
Sabin Galleries
St. Luc , C lalerie
Sandor, H. c\ R.
Sears, Vincent Price Gallery
Shicknian Gallery
Showcase
Shrubsole Ltd.. S. J.
Silvester. c\ Sons, A. T.
Simons, Seal
Sothcb\ 's
Souhami, E. B.
Spcclman, Edward
Spencer c\ Sons, Henry
Spmk c\ Son Ltd.
Spyer c\ Son. Gerald
Sussel, Eugene
Tcrry-Engcll ( lallery
Thoni, Frederick
Tillman, Alan
Tooth c\ Sons Ltd., A.
Toronto — Auction Sale-
Treasures Unlimited
Tritt, Olga
Tryon Gallery
Vandckar, J. c\ E. D.
Vosc C Ialleries
Wakcficld-Sccarcc C Ialleries
Wally F. Galleries
Walter (Antiques) Ltd.. William
Ward-Price I td.
Wartski Ltd.
Westminster Abbey — I xhibition
Wcllby, I I. S.
Wiener, I )oris
Wildcnstcin ( lallery
Williams, I td.. Temple
Wilkinson. R.
Wine Antiques
Wine 1 td , I otiis
Winston, Iih . I larry
Woollen c\ Son, C Charles
Wrev 1 td., I )enys
Zcnke, Otn
LX) I
LX I
I
c III-
LX
LI\ X
LXC 01
XI
1 x:
LXX
XX
204
STANLEY J. PRATT
LIMITED
■
■
-
V
■
- -
— <• . . * - * —
CHRISTIE'S
Will offer at auction on
WEDNESDAY, DECEMBER 18th
AUTOGRAPH LETTERS
MANUSCRIPTS AND DRAWINGS
ORIENTAl MINIATURES
AND WESTERN ILLUMINATED
MANUSCRIPTS
The property of Mrs. M. D. CAR ROLL.
Mrs. FRIDA BUCK V. The Rt. Hon. The EARL
OF HADDINGTON. K. I . NIC. RAM
GOPAL. Esq.. Sir RALPH MILLAIS. Bt.,
and others.
Autograph poem b\ Albert Einstein. It is part of a
further selection of letters, poems, worksheets,
inscribed photographs, etc.. addressed to
Dr. Gustav Bucks and his family.
Our Ki'prcscntutitcs in Vmerica:
JOHN RICHARDSON I he 1 1 C 1 1 \ K ! I S ALLSO
)U<R\ I PATTERSON
S67 Ma-Mum hvw//.\ Sew York. V. > '. IU02I Telex: New York 620721
Telephone: Rhinelander 4-4017 Cables: Chri\ woods, Sew Yi
Illustrated Catalogue
(23 plates) 9s. 6d. post free.
\ll s.ik-s arc subject lo the conditions printed in the catalogue*
One o| nineteen autograph letters b\
Sir I' In 1 .erett Miilais. R A . to John I eech
illusii ited il a lew amusing sketches, 1X53-1X62.
is' i7
8 King Street. St. James's, London S.W.I
Telex: 916429 Telegrams: Christian, London S.W.I
rides of London LTD
180 SLOANE STREET, S.W.I
Tel: 01-235 3080
d ith Century bureau bookcase of extremely well figured
fa d mahogany on bracket fee:, the top section with a
cornice, ad|ustable shelves and 3 small drawers; the fall-
id with vellum green leather above 3 long and 2 short
if 'till retaining their original swan-neck handles,
wide 7 ft. 2 in. high (I 07 m. 2- 18 m.)
The Connoisseur
DECEMBER 1968
Vol. 169 No. 682
Kelniscott, Willi. tin Morris s holiday home a. r. dufty 20s
A Flemish cabinet painted by Van Dyke's first master Andrew craham 215
The journey of the Bernini bust of Charles I to England r. w. lightbown 217
Thorn. is Harris, Ciainsbeiroiigh Dupont and the Theatrical Gallery at Belmont [OHN hayhs 221
WILI I A M GAL) N T 228
GEOFFREY A. GODDEN 232
GERALDINE KEEN 23s
A DR ! A N B U R Y 238
A 1 AST AIR GORDON 240
GERA1 O S( HURR 242
-43
1)1 Ms rHOMAS 244
246
2S0
M. de Hauke ami the British Museum
A Tinw orth I >iar)
The Timcs-Sothcby Index: 3 English Silver
In the Galleries
Art in the modern manner
Continental I )ispatch
Art new s 111 pictures
Watercolours from the I tu ner bequest
International saleroom
Books Reviewed
Books Received
T he American Connoisseur
|ordaens and Canada
A find of Elizabethan ale glasses
Textiles tor American museums
Art at the United Nations Headquarters
i he American \va\ with an
O I kiciubei ii('>S. National Magazine Company I muted
Cover
Nicolas Van Verendael (1 . ifvjo-gi). l-'lowers 111 a Wise. Oil painting, copper, is' • 1 1 :,; inches. /// the
possession of Leggatt Brothers, to St. fatness Street, London, S. II '. ;.
dolour Plates
Kelmst ott. I he North or ( iarden I kill : Morns s four-poster bed
A flemish 1 abinet painted by I lendrik van Balen
Turner, buildings l>y </ l<ikc, c. 1840-5. Watcrcolour over pencil 9 ■ 13 inches. The Tate Gallery,
Turner Beauest, lhiti>h Museum
|ordaeiis and ( anada. |ordaens. Yoinio W'otnau 111 <i I'luined Hat. (Elizabeth [ordaens), c. 1640. Oil on
canvas, 51 J 24^ inches. Hen Heiu: Kisters, Krett: lingeii, Switzerland
J EAN SUTHERLAND BOG GS 2 S 3
IVOR NO El HUME 2 SO
267
I O II N FITZ M A U R I CI Mills 262
JOSEPH I . HI I I 1 U 268
206
21 S
245
2S6
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'I he (
ir, I >eccmbcr, 1968
II
Oil on canvas
LOUIS ANQUETIN (1861-1932)
"MOULIN ROUGE"
HIRSCHL SADLER
GALLERY HOURS
TUESDAY through SATURDAY 9 30-5 30 ^
/A
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The Com*
Our contributors in this
issue include:
j kan sitheri.and koggs : Director, National
Gallery of Canada.
A. R. DUFTY: Secretary, the Royal Commission on
I listorical Monuments.
Geoffrey godden: author of the standard work
on Victorian Porcelain.
H > 1 1 N' HAYES : Assistant Keeper, the London
Museum.
K. w. LIGHTBOWN: Assistant Keeper, Victoria &
Albert Museum.
Next
month in
TheConnoisseu
The January issue will include
The Character of Brooks's by James Lees-Milne. One I
London's original 18th-century clubs with a splendid vau
subscription room.
Royal Academy bi-centenary by William Gaunt. A selectio
works that have been exhibited there over the past
hundred years.
Baltazard Solvyns and the Indian Picturesque by Mil(
Archer. Late 18th-century documentary watercolour:
costumes and customs.
European bronze statuettes by Georges S. Salmann. 4
extensive critical review of H. R. Weihrauch's authority
work.
The Times- Sot heby Index: d by Geraldine Keen, lib
market in old and modern books compared with share p: 5
since 1951.
The Phoenix Art Museum by R. D. A. Pucklc. How an«
museum and art gallery has become established in ban
decade.
Thayendanegea the Mohawk by J. R. F. Thompson. « >
portraits of 'Joseph Brant1, an important 18th-century In '
chief
A. J. Davis furniture and interiors by Katharine M.
Clinton. Diaries and drawings of an early 19th-century
York architect.
DRAWINGS BY THE MASTERS
Watercolo
GEORGES SEURAT
CINQ SOLDATS EN
CAPOTE ET KEPI
Crayon : 5^ • 10^ inches
•few
CAMILLE PISSARRO
ST. THOMAS
Watercolour . 9.', ■ 1 3,1 inches
. ,.L_ v -J - H
*^ - - 111 I 'W.^. f.- - .«MT '
MRfTimER GALLERIES Inc.
51 East 57th Street New York, N.Y. 10022
Telephone: Cable nddress:
758-04I0 Hnmmergall, N.Y.
I
WILLIAM CLAYTON LTD.
FINE CHINESE JADE CARVINGS, PORCELAIN AND ORIENTAL WORKS OF ART
A very fine and important mutton tat colour [ade vase with two elephant head handles and loose rings,
the cover decorated w ith a band of Lappets and surmounted by a standing Elephant, the Vase decorated
with two bands ot Lappets.
Height \i ins. Ch'icn Lung Period 1736-1795. A.D.
A specimen from our choice Jade collection
38 BURY STREET, ST. JAMES'S, LONDON S.W.I
TELEGRAMS: WILCLAYTON, LONDON S.W.I 01-930 1173
VII
J
255 KING'S RO.
Telephone: FLAxman 0644
FLAxman 3127
Members of
FINEST E
It*
A magnificent and most rare pair of English Sheraton period
carved wood, white painted and gilded settees of unusually small
proportions, the design being in the French Louis XVI taste.
Dimensions: Maximum Height of back: 2 ft. 8 in.
Width of seat: 2 ft. 11 in.
Depth of seat: 2 ft. 0 in.
through enterprise with discrimination
We restore through expertise to perfection
NDON, S.W.3
JIREMIQUE, LONDON, S.W.3
on Ltd.
**5
i
lg to note the similarity in style between English
unviture of the late 18th century.
at on, in his 'Cabinet-Maker and Upholsterer's
s 1 791-94) illustrates settees with turned fluted
led baluster arm supports, the arms filled in
>' and having the usual manchette or padded
whole design being almost a facsimile of its
XVI counterpart.
) ecommend two settees for a drawing room
e room in the house for which 'workmen in
exert the utmost effort of their genius'.
AL
■
ition
i
We discuss with knowledge for elucidation
The
Connoisseur
Art
Sales
Index
new art
information service
and easy reference guide to future and
recent sales activities at the leading sale
rooms of the world kept up to date by
a fortnightly and monthly service.
MONTHLY— An index to sales
results
showing, in alphabetical order of artist, the date, place
of sale and description, size and lot number of each
painting and the price paid in sterling and dollars
(excluding pictures under £100).
MONTHLY— Investors and col-
lectors guide
a report by art experts on current trends in fine art
auctions with comments on notable future sales.
FORTNIGHTLY— An index of
forthcoming sales
showing, in alphabetical order of artist, the lot
numbers of paintings due for sale in the two weeks
ahead with the date and place of sales.
A subscription of €25 for the season includes
a handsome cover for filing the fortnightly and
monthly issues. Write to:
ART SALES INDEX
The Connoisseur,
Chestergate House,
Vauxhall Bridge Road, SW1
MEYRICK NEILSON of TETBURY
A tine Georgian longca-e
Regulator. The 1 1 inch
MKered dial has centre second
and minute hands and hour
chapter ring shoeing through
an aperture. The 8-pillared
nunement of three month-
duration with dead-heat
e-capement is encased in a
well figured mahogany case.
7 ft. 4 ins. hiiih.
Ml ^ Rl( K \l I! SON
\ \ o N HOI SI . MARK I I I' I \ ( I
(il.OlTI STI RSIIIRI
Tclbury 201
II [ lil IO
I
X
ACOUAVELLA
Paintings & Watercolors by
RAYMOND LEGUEULT
W atercolor, \*t v 24' j inches.
December 4th to January 4th
Fully illustrated catalogue available $1.00
ACQUAVELLA GALLERIES, Inc.
18 E.79th Street. New York. RE 4-6300
SILVER BY HESTER BATEMAN
Basket
London 17X4
height 5} ms.
:\cludinc handle
Basket
London 1 784
height 3? ins.
excluding handle
Coffee Pot
London 1782
height 124 ins.
Stand
London I7S4
length 6J ins.
Tea Pot
London 1784
height 6} ins.
length .it hase 5J i
from the Collection of
O LOUIS WINE L«d-
I'sUihlished I
l ine Art Dealers, Jewellers and Silversmiths Tel: Dublin 77!
31 & 32 GRAFTON STREET, DUBLIN
Tin. ( iiiiM<<i%s<.'iir. I >t.c mlvr. i«X>k XII
RICHARD GREEN (FINE PAINTINGS)
Member of The British Antique Dealers' Association
CORNELIS de HEEM
Leyden 1631 - Antwerp 1695
Canvas 20f x 14| inches Signed
36 DOVER STREET, LONDON W. i
Telephone. 01-493 7997
THE PULITZER GALLERY
Western 2647
5 KENSINGTON HIGH STREET
LONDON W.8
and
JUNKERNGASSE 17, BERN, SWITZERLAND
Cables:
PULITZART London
Portrait of a Courtier attr. CORNEILLE de LYON, died 1574 Panel 6J x 5} ins. (174 X 13* cm.)
< <
WINTER EXHIBITION 1968
PORTRAITS and PERSONALITIES
5 J
FROM 5th TO 24th DECEMBER
Open from 2-5.30
(Other times by Appoi
ZRare &uj&6,fv and ConUnenta£ cfi/ver, <ffliruataM6.
An important pair of George II double lipped sauce boats bv
Peter Archambo, London 1741. Overall length 9 inches.
An example from our colla tion oj Early English Silver.
Valuations for Probate, Insurance and Division
Telephone: 01-629 6261 Telegraphic Address "Euclase, London W'.l"
Ari hitoccur.il design.
Austrian, middle <>t eighteenth centurv.
I'encil and water colour, 730 • 400 mm.
To our friends we would like
to extend our best wishes lor
the Christians Season and for
,1 wry happy Sen' W ar.
JULIUS BOHLER
OLD MASTER PAINTINGS
SCULPTURE WORKS OF ART
Briennerstr. 25
M U N I C H
["EL. Ml CH 55 15 29 II I . ADDRI SS: PAINTINGS
CLARGES GALLERY
S CLARGES STREET, LONDON, W.i.
Telephone 01-629 3715
Augustus John OA/., R.A. — 'Cartolta' 17%" ■ sigmt
Exhibition of
Drawings of the
British School
1800-1960
Including work by Farrington, Nasmyth,
Chinncrv, |. 1). I larding, Sargent, Muirhcad Bone,
Augustus John, Middlcton Todd,
Kusscll Hint and Bawden.
27th. Nov.-20th. Dec. 1968
Gallery open: 10 am. - 5.30 pm. Monthly to Friday,
10 iim. - 12. jo pm. Saturday during this Exhibition
^/y/yryfy/y/y/yry/y/y/yfy r
XVI
arlm
OF MOUNT STREET LTD
LO.NDO N
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LONDON W.l
Telephone: 01-499 2858
Cables. BARGRO, London, W.l
ESTABLISHED: 1866
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CLOSED MONDAYS !
i
Pair of Regency painted dark green cabinets with grille doors and ormolu mounts, simulated marble tops.
Height: 2 ft. n ; in., width: 3 ft. in., depth: 1 ft. in.
-
26, ?S, 30, 32 HIGH STREET MAIDENHEAD BERKSHIRE TELEPHONE: 26363 4 STD:OMA8
2j hr. answer phone service
MID-I8th CENTURY ANTIQUE SILVER COFFEE POTS
( reorge II Dale 1754. By Fuller White of London. Weight 2S oz. George III Date 1 7X4. B\ Langlands & Robertson
f Newcastle. Weight 31 oz. lOdwt. George III. Date 1767. B\ William Gould ol" London. Weight 26 oz. lOdwt.
Telephone 01-242 3248 9
LONDON SILVER VAULTS CHANCERY LAN L LONDON • W.C.2 Teie^m, waiter s.u^uit. London w.c.2
Will
GROWTHER & SON
( iOWTHER & SON LTD
! NORTH END ROAD, FULHAM SW6
I PHONE: 01-385 1375/7
k _ES: ANTIQUITY, LONDON
-c note: We close at 1 p.m. on Saturdays
An important, finely carved pinewood
chimneypiece, late 18th Century.
Length of shelt 6 ft. 0^ in.
Total height 4 ft. 1\ in.
Opening width 3 ft. 1\ in
Opening height 3 ft. 8^ in.
Period Furniture l$ Jgltf ljP§} ^t^^^ /;v/"'" Restoration
Works of Art limited of Antiques
Members of The British Antique Dealers Association *
\ rare pair "l
|{egene\
( liilioiuiiers in
original coiiilit inn
I hniiiglioul .
Tin' ilccoral ion
i~ in lime \ rlloM
mi .1
1,1, ■ ,le V-gre
l«a< k^i muni.
Measurements.
\\ idth 3 I in.
Depth I'll in.
Height ai Back
52 in.
Telephone 01-235 131 j
45 SLOANE STREET LONDON S.W.I
ZMes. DENYSANT LONDON S.W I
CHARLES WOOLLETT & SON
l Members et I),, R. \ IV V.
RI G. & Ml Kill
VVIGMORE STREET. LONDON W.IH 9 L F
AXDRADE
ESTABLISHED 1907 I
LIMITED
RARE TROMPE
L'OEIL
OCCASIONAL
TABLE
8 BORINGDON VILLAS, PLYMPTO^
^v> PLYMOUTH. DEVON
P5) D I U
XX
OHgRBY APPOINTMENT TO HER MAJESTY THE QUEEN, GOLDSMITHS AND CROWN JEWELLERS
GARRARD AND COMPANY LIMITED, LONDON
GAR RAR D
The Crown Jewellers
Acanthus Tankard. Height: 6| inches. Date: Charles II
1682. Maker: SH (Jackson Page 139)
You are cordially invited to inspect our collection which
includes many recent acquisitions.
XXI
ULJL
OUUUUUUUUUUUUUUUauaUUUDUDUUUGDaDDDDDDDDDDDC
SIMON KAYE ltd [
I l
1b ALBEMARLE ST PICCADILLY LONDON W.l HYDe park und 515:
Pair <>l c icon
PAUL STORR
wine coolers. Maker: Paul Storr. Date: 1 7l>7 . Weight: 71 10. Height: 7 in. Diameter: 7i in.
□
nuuuLk
ULJJJJ
:□□□□□□□[
(□□□DC
GALLERY
EDMONDO SACERDOTI
VIA S. ANDREA 17, MILANC
Telephone 795-1 5 1
GIOVANNI ANTONIO
PFL 1 EGRINl
ii6~s-l~4l
'I c nus and CupiJ
Canvas. ? s } \ _S in.
We buv important old and modem paintings
Please send photographs and details tor
For information in New York, please applv to
Salvador Bcnsjuiat Trafalgar "-938 s
er Trafalgar ~-9?0>
BY APPOINTMENT ANTIQUARIES OF CHINESE WORKS OF ART
TO H.M. THE KING OF SWEDEN
BLUETT & SONS
Oriental Jlorfcs; of Sht
Porcelain dish decorated in anderglaze-blue with flowers
and Iniiis against a yellow ground, the reverse with a
band <>/ scrolling flowers.
Diameter J0\ inches.
Six-character mark and period of Hiing-chih ( t .l). NSS-/505).
There are several instances in the history of Chinese ceramics of the continuing use, sometimes over several
centuries, of a particular motif on wares made for palace use.
Perhaps the best known of these is the green dragon on a white ground, whose origin goes hack to the 15th
century and continued to find Imperial favour right through to the end of the 19th century. It is true that the subject
was not employed during the latter part of the Ming dynasty and was revived only during the K"ang-hsi period, but
a complete series of these dishes in itself forms almost a microcosm of Ming and Ch'ing porcelain.
The design constituting flowers and fruits in underglaze blue against a yellow enamel ground originated even
earlier than the green dragon but lasted only until the Ch'eng-te period. The combination of underglaze blue and
overglaze yellow enamel was used again later hut not w ith that particular design. The earliest examples are of I Isiian-
te date, a handful are known with Ch'eng-hua marks, rather more with Hung-chih marks, and the majorit) ol this
rare group are of the Ch'eng-te period. In this final reign the design is altered somewhat both in the composition of
the sprays and of the fruit depicted - and there is not always agreement as to exactly which flower or fruit is intended.
Members of The British Antique Dealers' Association Ltd.
48 Davies Street, London, wiy ild
Cables: "Chineceram, London-W.l" Telephone: 01-629 4018 and 3397
XXIII
H. S. WELLBY
Antique English and Continental Silver
A silvcr-gilt tankard.
NURNBERG, circa 1600
by Hans auf dcr Burq.
I k'l^lit [9 cm. Weight 14 (17.
16c Grafton Street, London, W.I
Telephone: Hyde Park 1597
the antiques yearbook
is now available in two volumes
Published on September 30 in
association with Collins, the 1969
International edition is a thoroughly
revised and up-to-date guide to
nearly 6,000 art and antique
dealers in Europe and North America
Price 25s
848 pages 7~^" by 4%"
Also published in association with
Collins, the 1968-9 British edition
is an authoritative and
comprehensive guide to the art
and antiques trade in Britain.
A 'must' for dealers and collectors
Price 25s
888 pages by 4%"
Both editions are available from all leading bookshops or direct by post (at 27s 6d per volume, in-
ng postage) from: Apollo Magazine Publications Ltd, 22 Davies Street, London W1 Y 1 LH
xxiv
. TERRY -ENGELL GALLERY
FINE OLD MASTERS PAINTINGS
Collection Dlustxated Catalog ,e £1
8 BURY STREET, ST. JAMES'S
ie 01-839 2606 LONDON SWl Cables: Artengd, London SWl
Christmas can be a bit
of a bind for connoisseurs
It's not usually the done thing to give the
same present to a number of friends.
But when they all share your good taste and
the present is a year's subscription to "The
Connoisseur", then you know you are doing the
right thing.
It's the finest present they could wish for.
Twelve months of events and discoveries in
the international world of fine arts.
For just £7.10.0.
Just send us the names and addresses of
your deserving friends. A Christmas card will be
sent in advance to say the gift comes from you.
We'll invoice you later.
Meanwhile, we have a present for you. For
each subscription you give you will receive - free -
a handsome binder to hold six copies of your own
"Connoisseur".
That way it's bound to be noticed. By people
with taste.
The ( onnoisseur Subscription Dept., The National Magazine Co. Ltd., 22 Armoury Way, London. S.W.IS.
The Connoisseur, December, ly68
XXVI
JAMES MOORE 'THE KING'S CABINETMAKER'
ClNTRE TABLE, the only one recorded,
(\ ginal gilding, can be attributed to
E| MOORE by comparison with design
re\ind particularly its quality, with known
p/| by this craftsman who was described on
icih in lJ2b as 'The King's Cabinet-
r I He supplied furniture to most of the
rt( t houses of the period and examples in
toji / Collections are now in Hampton Court,
isd, Castle and Buckingham Palace. The side
ft n Stowe is now in the Victoria and Albert
uri Moore is recorded as supplying furniture
>e i uke of Montagu in 1J08, Earl of Bristol
,l\ and the Duke of Chandos ; a side table
~>n -nted to Queen Anne by Lord Trevor of
hd in J 7 12. His work was regarded as the
m le,
■ asurement of Top : 42 inches X 20 inches
Height: 30 inches
HOTSPUR
14 LOWNDES STREET, BELGRAVE SQUARF. LONDON S.W.I
01-235 1918
JOSEPH & EARLE D. VANDEKAR
Pair of extremely rare Dr Wall Worcester plates. 8! inches diameter, painted by Fidelle Duvivier after Antome Watteau, the rims
fluted with leaf motifs in turquoise and gilding.
I Kamples of Duvivier's work are illustrated by Marshall. 'Coloured Worcester Porcelain' colour plate 2l>. a teapot, signed and
dated 1772: and b\ I . Barrett. 'Worcester Porcelain' plate 69a. a milk jug.
138 BROMPTON ROAD, LONDON SW3 Tel: 01-589 8481
-
IN LOS ANGELES
SEBASTIANO CONCA, Italian 1675-
1 764. Oil sketches on panel 5 64 in., a
pair. Illustrated: "Jesus talking to his
Disciples". The other: "The Temptation
of Jesus by Satan". Modellos for the
paintings at Chapel S.S. Annunziata,
Gaeta.
Jlonse of Jlartforfc
13812 VENTURA BOULEVARD, SHERMAN OAKi
CALIFORNIA91403
I In ( . pimoi .seur, I in ember, i'/'S
xxvm
LEONARDO
LAPICCIRELLA
I
r
i
Painting attributed to the
Master of the
"Madonna del Bambino Vispo'*
Size of the Panel: mt. 1.28 0.85
LUNGARNO VESPUCCI 18
TELEFONO 276598
FIRENZE
COLLECTORS MONOGRAPHS
Worcester Porcelain 25s
Stanley Fisher Publication 29 October
Victorian Furniture 25s
Simon Jervis Publication 19 November
Magnificent photographs combine with an
authoritative text in making these books, the
first in the Collectors Monographs Series, ideal
collectors' guides. The authors, always leading
experts on their subject, give a brief historical
summary followed by hints for would-be collect-
ors The gallery of high quality photographs is
often of rarely depicted items.
VICTORIAN
FCRMTURK
^ -
Living with Antiques 21s
JaneToller Publication 19 November
A fascinating auto-
biographical reminis-
cence of the intrigue
surrounding the antique
world — written by one
of the doyennes of the
Trade. Jane Toller's story,
which does not in any
way claim to be a study
of the antique business,
tells of the pitfalls, rogues
and friends she has made
and provides imaginative
and enjoyable reading.
LIVING WITH
WARD LOC
XXX
What solves the ism puzzle?
Nleo
Realism Mi
Divisionism
o
Auto- V
Destructivism
Realism
Vorticism
POST
IMPRESSIONISM
CONSTRUCTIVISM
POINTILLISM
social
realism
cubism
LP"
dadaism
symbolii
PRIMITIVIS
futuri,
If you are interested in the field of twentieth-century
painting, sculpture and the allied arts, this is the journal'
will put the pieces together for you. Acknowledged
today as one of the leading journals of modern art in the
world, its unrivalled fund of scholarship and superb
quality of production will enhance your appreciation of
the subject and the sources from which it springs.
STUDENT SUBSCRIPTION RATE
A spoi ial annual subscription rati1 of
£3 11s 6d (post free) is available for
bona fill" students. Student subscription
i ards will be found in tin; maqa/ine or
■ if" ;ivailablo on request.
|stiKlio>
STUDIO INTERNATIONAL
Price 10s monthly I I times a year at all leading bookshops and newsagent:
Annual subscription C5 10s Od.
Studio International Subscription Department.
W 8 J Mackay 8 Co Ltd. Fair Row. Chatham. Kent.
one of the world's most authoritative journals of moder
BERNARD BIVALL
174a KENSINGTON CHURCH STREET, LONDON W.8
Tel: 01-229 29S8
XXXIII
THE BRITISH ANTIQUE
DEALERS^ ASSOCIATION
: : AND GATE. LONDON S.W.7
c i - 3" ; 5 4' ;
3i' £
George I
A fine set of three octagonal
castors. London. 1 720, bearing
the mark of Anthony Nelme.
overstruck on that of the maker,
probably John Chartier.
Height 8"fand 6:".
Weight. 32 oz.
prey
_ AS PREY & COMPANY LIMITED. 1 65-1 69 NEW BOND STREFT
DMnriM i/invAAn
■
Right Honourable Viscountess Lee of Fareham 'Old Woman Winding Wool'
Enquiries to Box No. 7437. The Connoisseur. Chestergate House. Vauxhall Bridge Road S.W.1
THE SLADMORE GALLERY
Specialists in 19th Century French Animal Sculpture
'LES ANIMALIERS'
I I 'll ijtii marclic. li /.c. Height X] ins. Antoine-Louis Baryc (1795-1875) Lion qui marchc. Bronze. Height 9 b;
( )i her \v< >rks In'
KARYK, E'RATIN, P. J. MI NI., MOKiNII X and other artists.
r [ it for 1 11.it i vc illustrated exhibition catalogues - 10/6 tin- pair (America, including airmail, 2 dollars).
CRY1.RS I II 1. 1., Nr. I IK, 1 1 WYCOMBE, HICKS.
(j.J miles from Wycombe mi Gt. Misscndcn Road, A4128) HOI MER GR1 I N 2279.
Also .11 The Antique Hypermarket, Kensington.
XXXVI
L'V APPOINTMENT ANTIQUE DEALERS TO THE LATE QUEEN MARY
MALLETT
FOUNDED
1870
GALLERIES
X E VV V O R K C H I C: A GO PA L M B E A C H
IT East ">7th Street, New York
ALFRED SISLEY
(1839-1899)
Le Chemin ties Pres le Matin
SK;M l> \ \ I > DATED I N LOW EH KIGHT: SISLEY, '90
Reproduced in the book l»\ Francois Daulte '\. Sisley," Lausanne, l(>.V). Page 7.'5">
SPECIALIZING IN l<)th AND 20th CENTl KY FRENCH MASTERS
Impressionists Fauves Post-Impressionists
AMERICAN REPRESENTATIVES FOR TWENTY-FOUR CONTEMPORARIES INCLUDING
BERNARD BUFFET. JEAN JANSEM. ANDRE HAMBOURG AND NICOLA SIMBARI
17 East 57th Street 175 Worth Avenue 320 South Michigan AVI
NEW YORK N.Y 10022 PALM BEACH. FLORIDA 33480 CHICAGO. ILLINOIS 6(
Tel 212:421-5390 Tel. 305: 833-971 7 Tel. 31 2: 939-4481
JEAN FRANCOIS MILLET. 'Horses crossing the river'. Charcoal drawing. 12{ 17% in.
Bernard Lorenceau
Official Expert
paintings - drawings — sculpture
from 1820 to 1920
18 RUE LA BOETIE - PARIS 8l 265.46.10
DAVID PEEL
& CO. LTD.
European
Works of Art
PRINCESS. LATER QUEEN" VICTORIA
Marble
Height 20 inches
by
WILLIAM BEHNES
T795 - 1864,
2 CARLOS PLACE. MOUNT STREET, W.l
HYDe Park 3161
AUCTION IN COPENHAGEN
Tuesday, 10th December and following days
Furniture from 18th cent., fine old silver,
porcelain, faience, etc.
The sale includes a fine American Chippendale
mahogany Blockfront Chest-on-Chest, the upper with
swan-neck cresting and urn finial, above three small
drawers, the centre fan carved, four long drawers
flanked by fluted pilasters, the lower section with four
long block front drawers, below a writing slide, on
oaival bracket feet. Has butterfiv brasses. Rhode
Island 1760-70. Height 7 feet, '2 inches. Width
41 inches, and also an American mahogany Blockfront
Chest of Drawers on claw and ball feet. Rhode Island
about 1760. Both being sold Monday 16th December
at 1 p.m.
Catalogues on request:
ARM: BRUUN RASMUSSEN
Auctioneer of fine arts
BREDGADE 33
1260 COPENHAGEN K
Telephone: Minerva 6911
THE OLD CLOCK HOUSE
TEL: ascot 22905
ASCOT
BERKS.
Open week-ends — 40 Minutes Via M4 from London
A finely carved superb quality
George 1 walnut side table.
Size Width 2 ft. 4 in.
Depth 1 ft. 5 in.
Height 2 ft. 6 in.
A rare William and Mary finely figured
walnut side table. Shown open.
Size closed Length 2 ft. 8 in.
Width 2 ft. 8 in.
Height 2 ft. 4 in
An outstanding William and Mary walnut bureau
bookcase of superb quality w ith shaped mirror doors,
ft Size Heigh- 7 ft. 9 in. Width 3 ft. 9 in.
HOPE TO HAVE THE PLEASURE OF SHOWING CLIENTS OLD AND NEW OUR
EATLY ENLARGED PREMISES WHERE WE HAVE A LARGE STOCK OF ANTIQUES
AND GARDEN ORNAMENTS.
M. NEWMAN LTD
I'.stablished 1870 Members of The Hrilisli Antique Dealers' Association Ltd.
43a Duke Street, St. James's and 1/5 Ryder Street, London, S.W.i
'Telephone: 01-930 HOiiH Telegraphic Address: NEWPIC, LONDON, S.W.I
"Watei Pets"
l»v SIR 1 WVREXC.E U.MA-TADEMA. O.M.. R \
•.isnrtl ami itisrrilxil ( XXXIII
| | ; |,l
Collections: A Anderson
I toval A " \
I- ( i \
• \ ;
"Outside the While Lion Inn'
b> W ILLIAM SII \YER, SNR., 18"H (signet! and dated
Canvas size: 33 • 40 lies 84 102 i in.
Framed size: JO ■ 47 inches (102 120 cm.)
M. NEWMAN LTD
Established 1870 Members ..I The British Vntiquc Dealers' Assm iation Ltd
43a Duke Street, St. James's : 1/5 Ryder Street, London, S.W.i
Telephone: 01-930 6068 Telegraphi- Address: NEWPIC, LONDON, S.W.I
XI
. ] N I I Q I 1 s
!■■ V R N I I V R I
U P II O L S T E R \
c V r r A I N s
C I R P I I S
( II A N I) H I. 1 1: R s
GREGORY & CO.
(ItlU TON STRF.IT) I Tl ).
is I A 131 [SHED 1823
DESIGNS & SCHEMES
BO I R D R < 1 1 > M S
DIRECTORS' SI 1 1 I S
D E CO R A T IO N S
ELECTRIC Al H'ORKS
II I. A I 1 N C
I 1 1. I' A I ION
A good quality and fine colour Regency mahogany sofa table with lyre end
supports, c. 1N10. Length s ft. 3 in. Depth 1 ft. .? in.
27 BRUTON ST., BERKELEY SQUARE, LONDON, W.i
.•lepliDiie: Muyf.iir 2f>oN/9/o, zo(><> Telegrams: Grcgco, Wesdo London
HAIM'S }i Brook Street, London, Wi je\ : rnvfa * 6300
Large stock
Fine Aub'isson and
Savonnerie
Carpets and rugs
of various sizes
AUBUSSON
Specialists in
Fine Quality
Plain Wilton
Carpets,
pastel shades
■
5^ > tM ™> ^
ili- ( ■ >n ,i nr, I h < < ml i« ; ■ /. .
XI IV
TABLISHED: 1865 138 REGENT STREET, LONDON IV. 1
AND AT LLANDUDNO
I TO JEWELLERY OF THE EIGHTEENTH CENTURY
r hs actual size
THE WREN GALLERY
presents an Exhibition of Water colours by
KRANCIS DODD, R.A.,
CLAUDE HAYES, R.L,
1874-1949
1852-1922
run; is I )odd
Mai khcath Villaec
1 X 14 inches
Open Saturday 30th Novembei Tuesday 24th December
10 a.m. - 1 p.m. ; 2.15 p.m. 5.30 p.m.
(Hosed Thursday and Sunday
9 ROYAL PARADE, BLACKHEATH VILLAGE
LOMMI.X S.E.3 01-852 01126
THE TRYON GALLERY LTD.
41/42 DOVER STREET, LONDON VV.I TEL: 01-193 5101
(hi I'niiiliiia I' V ~/tnr/,ti Wulf, /(./.
AN EXHIBITION OF SPORTING
VXD NATURAL HISTORY PICTURES
OF THE HIGHLANDS
2()th Novcmhci - I 7th I )<■( ember
including: Sir Edwin Landseer, R.A., Richard
A mm Id I. R.A., Archibald Thorburn, ( Jeorgc
I .< m Ige.
Daily 'J. 30 am - 0 /mi Saturdays 10 am - / pm
-:-:->:-:-:-:-yx<-:":-:-x-;-:-y.-:-yx<-:-:<-y////rXw>w
HENRY SPENCER & SONS
ESTABLISHED 1840 FINE ART AUCTIONEERS
15 EXCHANGE STREET. RETFORD. NOTTS. (2404 2205)
RETFORD SALEROOMS
Friday 6th December
Coins, Decorations and Medals.
Wednesday, Thursday* Friday. II, 12 & 13th December.
XVIII and XIX Century Furniture, Works of Art, Paintings
and Porcelain.
Illustrated catalogues 4/- post free
General Offices at:
20 THE SQUARE. RETFORD, NOTTS. 2531 (4 lines)
3 ST. JAMES ROW, SHEFFIELD. 78804 ( 1 1 lines)
91 BRIDGE STREET. WORKSOP. 5151 (3 lines)
ALLIANCE HOUSE, KIRKGATE. BRADFORD. 29327 (3 lines)
31 OSWALD ROAD, SCUNTHORPE. 4852 (2 lines)
75 WRAWBY STREET, BRIGG. 3352
4 GEORGE STREET, GRIMSBY. 58591
AUCTIONEERS, VALUERS, LAND AND ESTATE AGENTS
The ( unnui&scur, December, i'/>H XLV1
JACQUES KUGEL
7
rue de la Paix &
20, rue Amelie has
pi
easure in
that his new gallery
z/ 9, rue
Saint- Honore
Paris- V1IT,
will be opened in
Autumn 1969
Superb Louis XVI mirror in lapis lazuli mounted in ormolu by Gouthiere
from the Collection of Ricardo Espirito Santo and Maurice Sando:.
Height: 6$ cm. Length: 42.$ cm.
Canvas
David M. Koetser invites you to visit his new Gallery, where he
has for sale an outstanding collection of Old Master Paintings.
DAVID M. KOETSER GALLERY
TALSTRASSE (Paradeplatz) ZURICH SWITZERLAND
Telephone: (051) 27 52 40 Cables: Picturedom, Zurich
xi \ in
HARVEY & GORE
A fine..George I silver strawberry dish. London 1727 by Timothv Lev.
Weight 12 ounces. Diameter 7^ incites. Contemporarv Armorials.
A Mid 18th Centurv rose diamond and pink
foiled crystal pendant. Spanish Circa 1750.
A pair of Mid 18th Centurv diamond and
pink foiled ruby pendant earrings. Spanish
Circa 1740.
MANHEIM
Member of The Hritish Antique Dealers' Association Ltd.
L 0 >' I) () \ Cables .,.,.1 I rl.-i-.im-:
69 Upper Berkeley Slrcet, V ivantique, London W.I
Portinan Square, W.I Proprietor: PETER MANHEIM
Telephone: 01-723 6595 Open 1>\ appointment only
EIGHTEENTH CENTURY EMBOSSED PAPER PICTURES
i i •>! llircc |>i i 1 1 1 1 < - »ilh w i l<l annual- in siint- frinn Ar-.c>|>"-
li -. in relief. The) air painted in muted shades <»f ^reen. blue,
pink id. Overall size »iili frame*, 141 liv 12.1". Irish,
Cirra I7K0.
DELOMOSNE AND SON!
LIMITED
A rare English Goblet engraved with two windmills
and a sailing ship, inscribed T. WELVAAREN
VAN DE SOCIETEYT DER SAAG MOLENS,
on double knopped air twist stem. Circa 1745.
1 [eight : 8? ins.
4 CAMPDEN HILL ROAD
KENSINGTON. LONDON. W.8
' A HI I GRAMS DELOMOSNE, LONDON W B TE LEPHONE1 01 -937 1804
MLMBERS OF THE BRITISH ANTIQUE DEALERS ASSOCI ATI
Isaak Ouwater (1750-1793), Signed
Canvas 19 22i in. (48.2 ■ 57.2 cm.)
Old Masters Galleries
EXHIBITION OF FINE PAINTINGS
THAUDLEY STREET
FAIR, LONDON, W.l
Telephone: 01-629 0223
DAILY 10 a.m. - 5.30 p.m.
SATURDAYS 11 a.m. - 1 p.m.
Fine pair of George II cast candlesticks on plain shaped George III embossed beer jug by John Baxter,
bases by James Gould. 1738. 61 ins. high, weight 28 ozs. London 1770. 8J ins. high, weight 26 ozs.
EIGHTEENTH CENTURY ENGLISH FURNITURE and FINE ANTIQUE SILVER
I ita Juel Antiques
Charles tint! I ita Howard
Two tine I- itilit rent li Onlury Chinese < ■ x | » < » r I porcelain Tea l?u»ls and Saucers botli brilliantly
ilcconiii'd in l iunillr Kcisc riiiimrU. < >nc depicting the Toilet of Venus and the other with a fine
Armorial bearing.
99-101 KENSINGTON CHI RCH STREET, LONDON W.8
Trlephi " 'UK 6751 and 2333 Telegrams: Chowanlik, London If-
The Conn •..cur, December, 1908 Lll
Sabin Galleries Limited
1 Cork Street Bond Street W] 01-73-1 6186
BEAUCHAMP GALLERIES
8 BEAUCHAMP PLACE, LONDON S W 3
Telephone: 01-589 5716
Hp
A SELECTION
OF EIGHTEEN i
CENTURY
ENGLISH
ENAMELS
Battersea, Bi on,
South Stafford ire.
A Hound's Head lufl
Box in russet our
with hinged lid p itca
with a landscape
4 Bonbonnieres:
a yellow Pug Do' n a
pink cushion and linj
Charles Spanie or
pink, blue and I'll the
hinged lids pai ntc with
flowers.
M.KNOEDLER &CO.,,N(
14 East 57th Street, New York, N.Y.I 0022
December 2 December 28 1968
PRIMITIVE TO PICASSO
St. Paul's School Alumni Collect
January 7 January 25 l()(>()
LARDER A
La Rose des Vents
New Y..rk Telephone: (212) PLAZA 3-9742
CAULK \l H )l< I.SSI.S "KNOEDLKR" NEW YORK, PARIS, LONDON
PARIS, Jr.l.is FAUBOURC ST. I ION
L< (NDON, M ST. JAMES'S STRE
The Connoisseur, I VccmiIkt.
PRESTONS LIMITED
ESTABLISHED 1869
Member of the British Antique Dealers' Association
GEORGE II CHOCOLATE POT
London 1743, by Thomas Whipham.
Height: 9.1 inches. Weight: 31 ozs. 12 dwts.
DEANSGATE • BOLTON • LANCASHIRE •
aisoat 91 MOUNT STRF^T LONDON W.1 tel: 01.499 7644
AND AT 30 AVENUE ROAD T nONTO 5 ■ CANADA * Tel: 920-5157
W.G.T.BURNE
(Antique Glass) Ltd.
Member of The British Antique Dealers' Association lid.
Specialist in
OLD ENGLISH AND IRISH GLASS
A Regency Chandelier. 8 Lights, c. 1810
Length 41 inches. Width 31 inches.
II ELYSTAN STREET
CHELSEA, S.W.3
Tel. 01-589 6074
Portrait of Lord Edward Wortlcy Montague
by
Pictro Longhi (1702-85) Circa [775
, 1
ALESSANDRO ORSI
ANTIQl <ES
14 VIA BAGUTTA
|>] KIOI > I I UNI I URE 17th, [8th and lytli ( I N I URY
Dealing in antiques since
LOWE
of LOUGHBOROUGH
3 Mil I S PROM Ml
37-40 CHURCH GATE id. 0L0-93 ^ss4
Open all week except Saturday. Own Car Park
I VI
'NATURE M< )RT1 , P< )MMI s, P< )IRHS I T
PRIMULAS SUR UNI TAB I I "
SAIN T PELAGIt 1871
OIL PAINTING B^l GUM AM COURBHT
3 ' ; x 2 Si iru lies
EXHIBITION OF XIX AND XX CENTURY PAINTINGS
NOVEMBER 7- DECEMBER 21, 196S
LEFEVRE
SPECIAI ISTSIN FINI XIX & XX CENTURY
FRENCH PAIN 1 1NGS, DRAWINGS AND BR< )NZES
ALEX RE1 I t & LEFEVRE LTD
30 BRUTON SI REET, LONDON Wi
Telephone 01-629 22^0. Cable Drawings London W 1 .
La Ma/son du Notaire.
24"x30"
*r -
&
■Serge anc/ ' 'a/ve f/'s
Oil 32"x39-:
( o \\\ w\ I K t
B1IMU CILLERIES
3 3 3 6 VIA [100
NEWPORT BEACH. CALIF.
FHDTjE 714-673 ?7?2 - CABlt BAlDftHI L A
Modern European Art Shown
ANTIQUES INTERIOR DESIGN
541 CHARTRES STREET. NEW ORLEANS. LOUISIANA 70130
AREA CODE 504. 524-0653
Edward H. Potthast
1857 to 1927
A Summer Vacation
retrospective
EXHIBITION
January 15
thru
February 2H
Fully Illustrated
catalog $1
n TmHTTTTT TTTT
' I F
I' >rse and Wagon oil on canvas
Chapellier Galleries
22 EAST 80th STREET, NEW VORK C ITY 10021.
Tel. 988-4830
16 20 inches
15 20 inches
earned Salerooms!
FINE ART AUCTIONEERS
3 WARREN RD., TORQUAY Tel. 22309
TUESDAY, 17th DECEMBER, 1968
SALE BY PUBLIC AUCTION OF
18th and 19th CENTURY and OLD MASTER
OIL PAINTINGS
WATERCOLOURS, PRINTS, ETC.
Illustrated Catalogues 2s.
ON VIEW: Monday, 16th December, 1968
10.00 a.m. - 8.00 p.m.
(Earlier viewing by appointment only)
WILLIAM HOGARTH - Portrait of Richard James of
Ightham Court, oil painting, 29-^ in. 24| in.
Antiques, Furniture
and Works of Art
PACKED &
SHIPPED
to all parts of the World
OVERSEAS HOUSEHOLD REMOVALS
GANDER & WHITE LTD
Head Office:
25 CHEVAL PLACE, BROMPTON ROAD, LONDON S.W.7
Telephone: KNIghtsbridge 0646-8
' / l<i/>py and kumji
I shall be
dander and White
him packee me '
Packing
Warehouse
Empress Place, Lillie Road, S.W.6. Telephone: FULham 0309
JULIAN
XVI-XX Century Works of Art in bronze and other medh
SAINT BRUNO
by lean Antoinc 1 loudon
H. 1741. I ). 1 s js.
A reduced version by the
ulptor nt his statue in
marble commissioned by thej
it lit . 1 1 < ■>! ( lcner.il of the I
( Vdei ul St Hriino lor the i
i. hun h dt S.int.i M.iru Dei i
Ain.cli (hiring the sculptor'ssl
111 Uonie, 1 -'•)- 1 7'iS. (Gonsel
I .1 Sculpture Fr.mcaisc Depuj
le XlVe sie< Ic. Paris I ((95,
P. aj».)
Kit h brow 11 patinated hronzi
I Icieht u ith base 1 j l inches
406 KINCS ROAD LONDON S.W.
FLA 4400 ami 3243
1
IGO- STERNBERG GALLERIES
(MEMBERS OF THE BRITISH ANTIQUE DEALERS' ASSOCIATION)
/ //;■ Gardenei
i Nth Century Royal Aubusson
< 'hinoisci ie after Boucher
lr ') 111 S ft. 6 in. high (1-75 m. 1 -68 m.)
5a VIGO STREET,
DN W.I Telephone: 01-734 495
37 SOUTH AUDLEY STREEr
LONDON W.I Telephone: 01-493 1
AN EXTENSIVE SELECTION OF
ANTIQUE CARPETS AND TAPESTRIES
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COINS
AND
COLLECTIONS PURCHASED
write giving details to
R. A. FARRINGTON
Silverdale
Hoyles Lane
Lea
PRESTON, PR4 OLD
CECIL DAVIS
LTD
Specialists in Antique Glass
A fins pair of Irish quart-size Decanters and an interesting
Ship's Water Jug c. 1800
3 GROSVENOR STREET LONDON W
Cables: CRYSTALDAV, LONDON Telephone: 01-499 3
(Western Union)
FERN ANDES & MARCHE
( hit' nl a pun nl vci i line
ISih (cnlnrv giltwood girandoles:
llnl'lii W //, II hlih >/ in
80 ISI I NO ION HIGH SI Rl I T, I ON DON. N.I
(Near C amden Passage)
Telephone: 01-837 X7u8
A CHAPTER
IN III!
I lis rORY OF
HOOK
II I USTR ATION
by
S. T. Pridemix
First published in i1;!";, Prideaux s work became
immediately recognised .is the standard reference book
mi aquatint engraving, of vital importance to any
serious student or collector in this field.
Tin- Contents include: A description of the aquatint
process, its development with colour printing, its use in
France, especially bv Goya, the professional lives of
Paul Sandby, Rudolph Ackcrmann, Huniphrc) Rcpton
and others, and an account ol aquatints being used in
books on Foreign Travel, English Topography, Sport
and Natural I listory, ( laricaturc and ( lostume.
With a frontispiece and 24 plates.
Si/e: 92 in. by (>\ in.
Binding: Buckram, gilt, gilt decorated back.
Price: £5/5/- (postage 4/-).
( )rdcr from Dept. NT,
W. & (.. FOYLE LTD.,
119-125 Charing Cross Road,
London W.C.2.
1 11 , I >i-< inihi 1 . ]>)(,
I. XII
uncing . . .
: & Company Ltd. successors to r. l. Harrington Ltd
120 and 125 Mount Street, London, W.i
Teleplioiies:
l^^1 r 01-499 1785, 1784 and 5270
r. Holder
:. A. Redburn Cables:
i. Levinson chrisant, London, w.i
After many years in Mount Street, Mr. R. L. Harrington is retiring front the antique busi-
ness. His interests at 120 and 125 Mount Street have been acquired by the well-known Ne7v
York firm of Stair & Company, Inc.
Mr. Alastair A. Stair and his colleagues will make available to the friends and clients of
both R. L. Harrington Ltd. and Stair & Company, Inc. - and to new friends and clients - the
service of a truly international organisation with wide facilities on both sides of the Atlantic.
Both in London and in New York, they will offer a varied selection of Fine Antique Furni-
ture and Works of Art for use, enjoyment and sound investment.
The nezv London company - STAIR & COMPANY LTD. - under the management of Mrs.
Mary T. Holder, a director of R. L. Harrington Ltd. and associated with the company since
its inception, will continue to operate in the same manner as previously. Mr. A. S. C. A. Red-
burn will also remain and Mr. Harrington will be associated with the company in a consultant
capacity.
>V( YORK: and at WILLIAMSBURG, VIRGINIA 23 85
K.& Company^ InC0 59 East 57th Street, New York, N.Y. ic 22
Telephone: ELdorado 5-7020/1
December 1 0 - January 26
HALIMA NALECZ
'REDISCOVERY OF NATURE'
Paintings
dria.fi galleries
5-7 porchester place marble arch london W2
pad 9473
4* GARRARD The Crown Jewellers
will purchase at highest prices antique and modern
jewellery, silver and period clocks. A valuer will call
to view larger pieces or collections.
GARRARD The Crown Jewellers
in REGENT STREET. LONDON, W.i. TELEPHONE: REGENT 7020
Hal O'Nians
Dutch • Flemish • Italian Masters
6 RYDER STREET, ST. JAMES'S, LONDON, S.W.I
WHItehall 9392
Rupert Preston Ltd.
17 KING STREFT. St. James s. London S.W.I . 01 -930 1794
Specialists in 17th and 18th century
Seascape Paintings
CHINESE
Collet's
GALLERY
ANTIQUE AND MODERN CHINESE HANDCRAFTS
40 Great Russell Street, London, W.C.I.
(LANGHAM 7538)
NITA MILLER
FOR PERIOD LAMPS
Nita Miller Lamps and Shades
63a Grosvenor Street, W. I Mayfair 095 1
PARTNERSHIP
PORTUGAL
EDWARD SPEELMAN LTD
Old Masters
EMPIRE HOUSE, 175 PICCADILLY
LONDON Wi V ONP
01-493 0657
THE TRYON GALLERY LTE
41-2 DOVER STREET, LONDON, W.i HYDE PARK 5161
Sporting and Natural History pictures
CRANE ARTS LTD.
321 Kings Road, London, S.W.3 FLA 5857
Tues. -Sat. 10-6
Early English and American Primitive Paintings
Modern Naives • Bizarre Antiques
OMELL GALLERIES
FINE I9th and 20th CENTURY PAINTINGS
AT REASONABLE PRICES
22 BURY STREET. ST. JAMES'S, S.W.
839 4274
SABIN
GALLERIES
4 Cork St., Bond St.
REGent 6186
specialists in
paintings and drawing
of the Georgian era
GRABOWSKI GALLERY
84 Sloane Avenue London SW3 01-589 1868
Tapestries and prints by Paintings bi
TADEK BEUTLICH STAN ISLAW FREIMKIEI
3 December - 31 January
Open Monday - Saturday 10 6
Up to 50% holding offered in British owned
Company operating one of most successful
antigue businesses in Portugal, mainly import-
ing from Britain. Partner sought who is willing
to buy in U.K. for Portugal and perhaps spend
some time there.
Reply to Box No. 7438
.MEISSEN— originally modelled in the eighteenth century, freehand
painted by matter craftsmen, Meisseh porcelain figurines bearing the
world-famous mark of the crossed swords are now available in this |jj
country.
SERVICE THROUGH TEN REIGNS FOUNDED 1750
FUNCHAL, MADEIRA by F. D. Breciano, circa IS47 Canvas size 47 in. 57 in.
HE PARKER GALLERY, 2 Albemarle Street, London, W.l
Telephone : 01 -499 5906
CLAUDINE CERIA
NTIQLIHS 71, rue de la Pompe - Tel: 870.20.36
PARIS
1)1X ORATION
\
4
The Chesterfield solas of Cla
Your wall coverings ran be mati
w hich is dyed to
( leria arc in dressed antiqued leather,
ed in the leather of the Chesterfield
go with your sample.
LXV
THE ANTIQVE HYPERMARKET
THE BIGGEST ANTIQU
SHOP IN THE WORLD
■
I
and the busiest. The Antique Hypermarke
will have attracted nearly 200,000 visitoi
in its first year of operation. The resul
ing turnover makes it possible for trac
buyers to be served very competitive]
by over 100 serious dealers with aboi
one million pounds worth of constant!
changing stock. Open to the public
admission free.
THE ANTIQUE HYPERMARKET 26-40 KENSINGTON HIGH STREET LONDON
TELEPHONE: 01-937 6911/8767 OPEN FROM MONDAY TO SATURDAY 10 a.m.— 5.45
iCAR AND PETER JOHNSON LIMITED
LOWNDES LODGE GALLERY
2~ LOWNDES STREET
LONDON. S.W.I
Telephone: 01-235 6464/5 Cables: ARTCOS, LONDON, S.W.i
LXVII
H.M.S. 'Britannia', too guns, built in
17OJ, the largest ship in the navy.
Fought at St. Vincent, 171)7, when she
wasjlagshipoj I 'ice-Admiral Thompson,
also tit Trafalgar when she was the old-
est ship in the navy, being three years
older than ' I 'ictory'.
Flagship of the Rear- Admiral F.arl ofl
Northesk in Nelson's van or weather
column.
( .tM/fiJ* 10 I 1 1 III
/.'< )/!/ I-' I V I IK hUAS, R.N. 1787-1853
Signed and dated 1$ u
NEW BOND STREET GALLERIES
122 New Bond Street, London Wi
The Connoisseur Register Advertisement
wan 1 1 n
Youi Jewellery has increased in value particulaily since the Budget.
Cartiei offoi lop prices foi the finest. Stint confidence observed.
Cartiei 1 id 1 75 New Bond Street I ondon W.I 01 -493 6962.
I'i ivate Collector interested in offers ol any punts any general subject
duet il\ associated with the Bahamas Islands including maps scenic
views past Governors pirates etc Please apply P.O. Box 1 624. Nassau.
Bahamas
Wonted l>\ pnvato collectoi early South Indian Bronzes. Write Dr
B101 Inn 4663 Aailung Switzerland
I OR SALE
OUI Punts. Unnvalled selection on all sublets also ORIGINAL
DRAWINGS RARI BOOKS and ALLOGRAPH MANUSCRIPTS
Callois In appointment only telephone Ambassadoi 5439 Walter T.
Spencei , specialists since 1 S56, 4 7 Llppei Berkeley Street London W.1 .
I he famous Chnstmas Plates from Royal Copenhagen and Bing ft
Groendnhl foi sale direct horn Denmaik Older Plates also available
HAOIKSOI Plate Seivice Postbox 231 Aarhus. Denmark.
OKI Maps and Punts Catalogues of County Maps Decorative Maps
OM Views of all p.iits of London and Bntish Isles also Foreign Maps
obtainable on lequest I Is. 6d ) from Brian J Page (Prints and Maps)
Mill House 24 High Stieet Billencay. Esse\
I'u'o I f nutwood Side Table, small proportions Chelsea Wor-
cestei Swansea Derby Porcelain Tradewind'. Little Crescent
Rottingdoan
Antique Silvei Collectors and Investment catalogue tree A K
•' >olo. South Thoreshs Alford Lines
t's of The Connoisseur from 1902-33. Some years complete
set Offers Box No 7439
Binoculars: 20 early binoculars and spy glasses dating from c.
1 S50. L'UV the lot Charles Frank Ltd 1 45 Queen Street Glasgow.
PROPERTY
Devon: Historic Tudor House with shop in small town neatl
ideal antiques/restaurant, etc: 4/5 bedrooms: bathroom: magn
reception room on 2 levels: drawing room: patio: garage: wol
C1 2,500 freehold: Sole agents Chamberlaine Brothers and Ed
(Exeter), 1 Barnfield Crescent, Exeter. Tel: 75018 & Bristol, (f
ham etc.
SITUATIONS
Experienced Fine Art and Furniture Valuer required by expanding
provincial auctioneers Top salary for suitable applicant, whosh
between 28 and 35 years of age. Apply W. L. Weller, F.A.I.J
Chasemore, Station Road, Pulborough. Sussex.
Spei alist Am tioneeis in Antique & Fiik Arts an n\ ted to ap
senior appointment as Departmental Head with a large firm ofl
Auctioneers in West Midlands. High salary related to abilit
partnership prospects. Applications in stnet confidence to
7440.
MISCELLANEOUS
Cameo Corner. 26 Museum Street W.C 1 . Tel: 01 -636 0401
for fine antique jewellery, invite you to their Christmas Exhibitie
Design Open 9-5 (Thurs. 6 30) Sats in Dec. 9-1 .
Antiques We are in a position to undertake the repairin
furniture KEEBLE LTD 20 Welbeck Street. W.I . Tel Welbeckl
Books on all Branches of Art and Architecture Catalogu
send 1 /- in stamps, overseas customers no charge. Collectionsf
FRANCIS MARSDEN. A.B.A., 59A King s Road. Chelsea, Lon
(Postal business only.)
Register advertisements are 21- per i\ ord. minimum CI. 6.
which must be prepaid and sent to the Advertisement
CONNOISSEUR. CHESTERGATE HOUSE. VAUXHAl
ROAD. LONDON S W.1 (Victoria 2331). Addresses or
must be inserted and replies to the latter should be clearl\
the Box Number. The Proprietors of The Connoisseur
responsibility for any sales effected
IMPERIAL JADE
MINING, INC.
5+ POUND SOLID JADE TABLE TOP, $100 PER POUND
Occasionally large pieces of jade are found among the smaller jades in our deposits. When this occurs, we use
them for one of a kind objects of art. This is only one of several currently available. Pieces range from $20.00 to
$2,000.00 per pound. Table weights range from 1 5 to 250 pounds. We also offer the connoisseur the following
items. Each one of a kind. Each individually commissioned.
Mausoleum
Hand-Carved Pulpits
Baptisman Founts
Corner Stones
Monuments
Sarcophagus
Statues
Corporate Crests
$10,000 to $25,000,000
$5,000 to $300,000
$5, 000 to
$ coo to
$50,000
$150,000
$3,000 to $1,000,000
$100,000 to $400,000
$10,000 to
$1 ,500 to
$500,000
$10,000
Family Crest
Table Tops
Desk Tops
One of a kind doors
and panels
Achievement Awards
Jewelry
Floor and Fireplace Tiles
$ 1 , 500 to
$800 to
$500 to
$10,000
$50,000
$25,000
$ 1 ,000 to $
$500 to
Special Quote
Special Quote
$25,000
Rare Jade boulders in natural form are oflFered to the collector. Trades of genuine Jade for hardstone carvings,
precious stones and objects of art, are always considered. Special commissions solicited. By appointment only.
Russell H. Underdahl, Pres.
Imperial Jade Mining, Inc.
2J10 Nicollet Avenue, Minneapolis, Minnesota 55408, U.S.A.
Phone: 612-82J-5481
N. R. OMELL
1 8th & 19th CENTURY PAINTINGS
il
ItThU IlLLtMA\>
;o in
H \RROW S( HOOI. WD CI 11 R(
li VRROW -ON-THI -HILL
6 DUKE STREET ST. JAMES'S LONDON, S.W.i. 01-8396223
I XX
HEIM
AUTUMN EXHIBITION
3AR0QUE PAINTINGS, SKETCHES AND
SCULPTURES FOR THE COLLECTOR
NOVEMBER - DECEMBER 1968
Portrait of a little girl seppe Maria Crespi (1665-1747)
Canvas. Height 23£ ins. (59 2 cm.) Width 18 ins. (42-7 cm.)
-4 0688
59 JERMYN STREET, ST. JAMES'S, • >NI)ON S.W.I
Also iii Paris. I0<), Fbg. Si. Honor£. Tel: BAJ 223«
ELY 4926
Cables:
IIEIMGAL 1 ONDON 1
SHOWCASE
Philip & Bernard DOMBEY
174 KENSINGTON CHURCH STREET
LONDON W. 8 UAYswjtir 7100
( ,( ,• /// 1 ->).'. 7 ondon Hall Marked Siht
bV.if Shaped Cake Basket. Weight _■->! 0;
Makei 11. Chawner.
R. E. PORTER
2 and 4 POST OFFICE ROAD
BOURNEMOUTH Bournemouth 242S')
/ /<7>/'/«'n'////<' period Serpentine-front < 'lie.il
Diawers in mellow mahogany. Original
handle*. ( irt.i 1770. j<> 11/-. n'/i/c. /V/Yf
A. T. SILVES I ER & Sons Ltd.
\\ AinVK K R( >AD, SOI 11 1 1 1 1
\\ ARW l( KSHIRI Solihull ..sss
.iikI .11 Warwick and Knowli-
2 oj a set of 4 Ceorge l \ ' tinted shells
<n dolphin feet, tiill inside. Sheffield tSj6.
Makei li. < Uitisford.
HILTON GALLERY
(P. E. Goold)
3 ST. MARY'S PASSAGE
CAMBRIDGE ( ambridge 56886
One of a selection of French marble fire-
places. Price range from £,60
C. P. BURGE
162 SLOAN E STREET
LONDON, S.W.I Sloane 4240
and at Thames Ditton, Surrey
1 .fTtrt.itiniFMMimikfc^
Attractive pair of George 111 silver sauce tureens
and covers, t ontemportii y ere si. / limtiles detat liable.
( 'overs tan l>< used separately.
Sheffield hallmark 1S17. Makei • Mil. Gainsford
0 't in. {17 cm) long. j$oz. £9$0 the pair.
M. P. LEVENE LTD ^Vi'I"\ j
5 I III Rl OE PI ACL. LONDON SW7
Phones: (01) 581; 3755/3783
Pacing I idoriaL- Allien .Museum
^1
L
WE ALWAYS HAVE AN ATTRAC-
TIVE COLLECTION OF OLD
TAPESTRY AND NEEDLE WORK
CUSHIONS.
E. B. SOUHAMI
6c PRINCES ARCADE
LONDON S.W.I
Regent 7196
Signed P.J. MENU. Dated 1S63.
Price: 3.500 1-
ALAIN LESIEUTRE
21 & 10 rue Saint-Sulpice
PARIS -6e. Tel: MED. 41.03
H. R. JESSOP Ltd.
3 MOTCOMB ST., BELGRA
LONDON S.W.i
A rare Han arat miniature buttercup,]
paperweight. 1 4l in.
ALAN TILLMAN (An;
« HALKIN ARCADE, LONDC
Tel: BEL 823s Telex No. 9161.I
Cables: TIM WLIGHTS LONDON
Valuations and Sale-. Advice i
Specialists
in
Antique
Clocks
CHARLES FRODSHAM & Co.
173 BROMPTON ROAD "Ltd.
LONDON S.W.3 Kensington 1073
A DICTIONARY OF M
jos. [by post {_•«. 6d.) J
lioni all oaod booksellers orflOl-
1 hi; PUBI ISHING 1)1 PT.
THE NATIONAL MAGAZIN
22 ARMOURY WAY.LONDV
By Appointment
to Her Majesty Queen Elizabeth II
Supplier of Carpets
Member of The British Antique Dealers' Association Ltd.
A 17th Century fin _>ussels Tapestry,
depicting the Annunciation, by Martin Reymbouts,
circa 1610 in excellent condition.
Size: 8 ft. 9 in. x 7 ft. 5 in. 2 67 mm. 2-26 mm.
ner^TubLsson 70 SOUTH AUDLEY STREET, LONDON, W.I
CARPETS Telephone: HYDe Pari 5298
vVORK and BROCADES and at 36 HIGH STREET. OXFORD
Telephone: Oxford 44 1 97
ATKINSON GRIMSHAW
'DO( K AND
STR EET SCENE'
Sinned
Canvas
12! in. 19.', in.
JOSEPH THORS
'A VIEW IN
DERBYSHIRE
Signed and
Inscribed
Canvas
24] in. x 35^ in!
Paintings available by CHARLES VENNEMAN, B. W. LEADER, A. A. GLENDENNING, W. MELLOR, ETC.
19th Century Paintings, Shop 10 - Mayfair Antique Market, Shepherd Market, London W.l
Phone 01-435 1476 (Day); 01-455 9344 (Evenings and weekends)
The only address for
ORIGINAL DUTCH
CHANDELIERS
cast in solid brass with
exact 1 7th century
patterns, is
J. L. de Rijcke
Lisse, Netherlands
where an artistic
craftsman makes them
single-handed in
restricted production.
If this very decorative
style of museumquality
appeals to you, please
write for information.
.KM ( . K
G ASCOIGNK
Shell (loll age
I I December - .'{ January
IOYLKS ART GALLERY
1 19-125 CHARIN(> CROSS ROAD WC2
I
TUTANKHAMEN
75 wonderful colour plates,
200 black-and-white illustrations,
published by The Connoisseur and
Michael Joseph Ltd 60s.
TUTANKHAMEN
' These wonderful colour and many other illustra-
tions enable us to study the find properly almost
for the first time.' CYRIL CONNOLLY. Sunday Times.
TUTANKHAMEN
From good booksellers or by post, price (>4s. 6d. (post
paid ) from :
The Publishing Department,
The National Magazine 0>. Ltd.,
22 Armoury Way, London, S.W.IK
The i nnnoisscur, December, I'/iN
I XXIV
PHILIP DUNCAN
LTD
LOWNDES LODGE • 28 LOWNDES STREET • LONDON S.W.I
(Almost opposite Carlton Towers Hotel)
L BELGRAVIA 1512, 1513 OPEN ON SATURDAY MORNINGS
KING & CHASEMORE
in association with E. Clifford Smith
BRACHER &
SYDENHAM,
LTD.
(Members <>l llie Kniisli Antique Dealers' Assch i i lad.)
\ P;iii of< icorffc 1 1 1 ( !asl Tapersticks, I 764
by Kbonczer ( Inker. Height : "> in.
Wciuhl : I I oz. lOdwt.
QUEEN VICTORIA STREET
READING, BERKSHIRE
Trlepl v.: ") (72 I Established : I 790
( Hosed all (lay Mondays
A Very Fine Pair of Yellow Ground First Period Worcester Bal:s
in Exceptional Condition which fetched £1,500 in our October 8
Auction Sale.
Fist of Forthcoming Sales at
Country Houses and The Pulborough Salerooms
on Application.
Catalogue Subscription £4 per annum
Valuations for Insurance, Probate and Family Division
STATION ROAD, PULBOROUGH (Tel. 2366/8) AN
AT HORSHAM, PETWORTH, ANGMERING, SX.
AND AT CHILTON, NR. AYLESBURY, BUCKS.
I
HENRY JACOBS
FINE PAINTINGS
B. J. Van Hovt; Signed and dated 1845
Panel size 20 in. 15\ in. Framed size 26.', in. 21
1 FROGNAL PARADE, FINCHLEY ROAD, LONDON NA
TEL: 01 435 11-10/3311
Che I nnnoisseur, December, I'/'K
I XXVI
17TH CENTURY BRONZE PLAQUE OF OUTSTANDING QUALITY
ATTRIBUTED TO PAULUS VAN VIANEN
DIAMETER 8| IN
A. LEE
R- T. GWYNN
The Manor House,
Byfleet, Surrey
(By Appointment)
Tel. Byfleet 43346
ezmoud ft /' ffj/es
mm
Jim
Sarouk. Size 20 ft. 4 in. 13 ft. 2 in.
Rcf. 53X12
Antique and Old Oriental Carpets
and Rugs, Tapestries, etc.
BO I GHT- SOLD - EXCHANGED.
Fitted carpeting in exclusive
plain colours a speciality.
Perez
112 BROMPTON ROAD, S.W.3
Telephone 01-589 4411 (3 lines)
Telegraphic Address 'CARPEREZET' i
also PARK STREET, BRISTOL and
AMSTERDAM
-Mi
Phillips Harris
Antique English & Continental Furnilun and II inks of Ar^
A very fine quality Sheraton mahogany
wine cooler of rare shape and size and with
the original stand. I leight 'I'll '"• (56cm.),
length 2 1 in. ( 52 < m.
54 Kensington Church Street, London, II 8.
Telephone: 01-937 3133
I XXVIII
C( >STANTINI
A)
Tonda 33H Ms indies
Madonna and Child
by
Eus*enio ili Giulio Costantini
(d. Perugia [583)
Adams, Davidson & Company
5233 P Start. N.W., Washington D.C. Tel: 202:965-3800
An important sculptured silver Kovsh set with blue cabochon sapphires by
Carl Faberge. Made at the Odessa Workshops in commemoration of theopen-
ing of the Ural Mines, it depicts Russian warriors discovering the mounts of
Ural. Overall height 23^ in., weight 7,600 grs. Original fitted case.
Corinthian Studios
20506 SARATOGA - LOS GATOS ROAD
P.O. Box 385
SARATOGA, CALIFORNIA 95070
Telephone: (408) 867-4630
CEO. II SILVER
OCTOFOIL SALVER
MADE BY EDWARD POCC :
LONDON, 1728
DIAMETER 15 inches
FIRESTONE and PARS*
RITZ CARLTON HOTEL
BOSTON, MASSACHUSETTS
Commonwealth 6-1858
" : "
- - ; - - '•
■ - ■ - ' " ! Cs
: . H
: :
: - ;
I
:
FINE SELECTION OF RARE CHINESE
SNUFF BOTTLES, including HORNBILL
Collections purchased
MAINLAND, PENNSYLVANIA 19451
(19 mi fr0m Phila. at Lansdale Exit of Pa. N.E. Extension)
By appointment please. Phone (215) 723-3949
mildred fnedman's
Rd
Detroit. Michigan 48221
j te 313 Di-1
■
I
PIETER COECK VAN AELST
1502-1550
On panel. 42 2S inches
NEWHOUSE
GALL1 . .TES, Inc.
Established tS78
15 East 57th Street, New York, N.Y. 10022
(212) PLAZA 5-4980
Important Antique
"(Dragon
6 x 14 10
K xcept ionally rare
"Armenian" Dragon rutr.
These rU^TS were
woven from t he
14th through the 18th
Cent ury represent the
mythical flight of the
dragon and phoenix
Kvidenee of early use of
this pattern is found in
■ally pamtines and in Minn
heraldry. Medallions of
sunbursts, trick" ft leaves,
mellowed tones of blue-
Ki'een, K'old fawn, red.
Woven with Ghiordes Knot.
You'll always find the
largest selection of choice
antique I'1 cench . < leor^'ian ,
Oriental and Bessarabia
rujrs available at Heshar's
BESHAR'S
63 East 52nd Street,
New York, N Y. 10022
ne Floor Coverings Since 1898
THADE MEMBER N S I D,
Ej-hibitrd at Tt j-tih: Miisrum,
Washington, l>.C.
The way to select
ORIENTAL RUGS
is to examine them in your own honn
4 L> cv/V
-,1-n- If «w» nr»
SEND FOR DESCRIPTIVE LISTS and COLORED PICTURES. Include y<
Zip Code. Select tugs you wish sent on APPROVAL. WE PAY A
SHIPPING CHARGES. NO DEPOSIT OR EXPENSE to you in orden
our rugs shipped on approval. No obligation to buy.
Antique rugs S50 to $2,500
Small to Giant Sizes.
2,000 Oriental rugs from
India in pastel (Kirman) colors
100% wool nap. 50 sizes
9 x 12 ft. $295 to $550.
Many giant and
unusual sues
For mi/* by America's foremost
authority ana' expert on tlrienlal
linns, and largest exclusive dealer
in natural, untreated rugs.
For 43 years we have been eliminatr
the element of gamble in buying Orier
Rugs for thousands of customers all o
America.
"ORIENTAL RUGS —
A Complete Guid
by Charles W. Jaeobsen . . . $12.
First and only Oriental Rug f
cyclopedia ever published. 480 pa(
with 250 plates, 38 in full color. .
CHAS. W. JACOBSEIM, Inc.
401 S. SALIN A STREET. SYRACUSE, NY. 13201
DEPT. C TEL. HA 2-7832
.-c <-:-:-:-
Antiques and works of Art
iHtli Century
blue and white
Chinese garden seats
Him land's Antiques
Route 202 Roulc 413
Buckingham, Huckn (lounty, Pennsylvania
Telephone: (21.1) 791-7611
If
PICTURE LIGHTS
SPL.3
Eniov the beauty of your d ict ures
Efficient, yet
unobtrusive ,
they are fixed
a moment to
back of the
picture fram
cui u aic I cnu
and add to the interest of your home for connectit
by installing "SPL" Picture Lights . to a nearby
M/M electric poin
f t] complete with lamps
Obtainable from all leading Electrical Shops. Send for free Colour Leaf li
LINOLITE LIMITED Sales and Export Departmen
142, Liverpool Rd., London N.1. Tel: 01-607 0072 (4lim
TIic Connoisseur, December, lo/ift
I XXXIV
'ierrc Paget
Marseille, 1620-1694
iAINT SEBASTIAN
xench, 17th century
ironze, dark reddish-brown lacquer patination;
kight: 36 [ in. (92 cm.).
1 rare, possibly unique, cast ol a hc;:ctto tor the colossal
uirblc executed by Puget tor the church ol Santa Maria
i Carignano in Genoa, circa 11V10.
hree other bozzetti tor this Saint Sebastian are known.
)ne is a preliminary terra-cotta study of the head and
>rso (Musee du Louvre), another is a plaster cast of a
ill-length bozzetto, lacking only the amis (Musee des
eaux-Arts, Bcsancon) and the third is the well-known
rra-cotta ot the complete figure (Collection Dutuit,
luseedu Petit Palais, Paris).
he 17th century bronze illustrated here offers several
I iriations trom the above mentioned works, the most
riking ones being the parted lips and in the movement
the hands. While the bodies are identical and ot the
me proportions in all instances, there are also lesser
fferences, mainly in parts of the tree, the ropes and the
ittom ot the drape.
om a careful study of these works, it is apparent that
e present bronze is trom a lost, or presently unknown,
;:cllo that was a link in the chain of Pugct's concept
nil the first study to the final marble.
om our current brochure: SCULPTURE FOR A
iIALL MUSEUM, including bronzes and other works
'th- 19th century, from cur collection. This lully illus-
ted and documented catalogue, with more detailed inform-
on on the present bronze, is available: price $2.00,
st paid.
106 j MADISON Al'ENl E,
NEW YORK. N.Y. \002S
TR 9-2171
LXXXV
Land of Makebclievc
by
MAXFIELD PARRISH
40 30 in.
VOSL^
cilleries
of Boston i nc
238 Newbury Street, Boston, Mass.
( 617) 536-6176
Established 1841
Incuts for the estates oj
William S. Horton anil Maxfield Parrish
THE DEAF POSTILLION
By Charles Martin Hardie (1858-1916)
Signed lower right, C. M. Hardie '91.
Oil on canvas, untrained size 29 15j ins.
Member, Royal Scottish Academy.
Exhibitor, Royal Academy, London, from 1880.
KMpKXK SIJSSEL
ANTIQUES AND FINE Alt
1 92«> CHESTNUT STREET, PHILADELPHIA, PA. 191
Members of the Art and Antique Dealers League of Americ
and The Appraisers Association of America
AN IMPORTANT
GEORGIAN SPRAY,
en tremblant, pave rose and
mine cut diamonds set in
gold and silver, from
QrtJ our large collec-
fy* tion of antique
jewellery
LETTNER'S
JEWELLERS • GOLD & SILVERSMITHS • ANTIQUARIANS
345 OUELLETTE AVE., WINDSOR 14, ONTARIO
TELEPHONE 253-8465
The Comioiwiir, December, l<X>"
I. XXXVI
FURNISH INC
562 LINCOLN AVENUE. WINNETKA. ILLINOIS
HILLCREST 6-091 2
"SEASONS GREETINGS'
Handsome 18th century Georgian game
table, flip top, one drawer. Fruitwood,
beautiful light brown colour. 36 in. wide.
'\7l in. deep (closed), 28^ in. high.
^2400.00.
VICHAEL HALL
NE ARTS Inc
By appointment only
t 79th Street New York, N.Y. 10021
H9-5053 Cable: Mikhallart
ST. AGNES
Bronze high relief
Diameter 12.I ins. depth 3| ins.
Italian, XVIth century (Venetian?)
Currently exhibited in
God< and Heroes, Baroque
Images of Antiquity at
The Wildenstein Gallery, New York
I XXXVII
REMBRANDT Tin- Three Crosses (Ktching& Drypoint
Hind Catalog No. 270
5tli state. !.".>, x 17 .', Hi", ;;s7 mm. \ 45'J mm.
Announcing
THE OPENING OF
OUR NEW MAIN FLOOR
GRAPHICS GALLERY
dedicated exclusively
to outstanding
examples of graphic art
through five centuries.
Work by Diirt r, Frayonard, Harocci,
l)aiuiiirr, Schiinyatn r, Kollwitz, M unch.
Tout mi si I. n ii I r. \\ h istlcr <i »<l nth i r.w
\mi available : Fully illustrated
rataloijuc of master prints $1 .00
Kennedy Galleries
"OUNDFO 1874 * BY H WUNDERLICH
KAST 5(.TH STRKKT . NKW YORK 10022
JOSEPHINE HOWELL IN
Member of the National Antique and Art Dealers Association of America, Inc
41 EAST 57th STREET NEW YORK, N.Y. io.
PLAZA 3-5515
FRENCH ANTIQUES
Louis XVI Mahogany U..tr.uchissoii
with gillery and white marble
19 111 X 16.' in. ,;oi in. high
RUSSIAN ICON 18th century 12 ■ 15 in.
PAINTINGS ICONS GRAPHICS
LIROS GALLERY
630 N. WASHINGT( )N ST.
ALEXANDRA, Va. 223H
(703) 549-0059
LXXXVIll
DORIS WIENER
ANCIENT AND PRIMITIVE ART
•1 MADISON AVE., N.Y. 10021 TEL: 249-6750
Size 2 8 4 6 CAUCASIAN
Very unusual product
of peasant weaving from the Caucasus.
Nowhere else could a
field of multicolored, lozenge bars
be found in reds, blues, and white,
than in a rug from this area.
mARk keshishiAn & sons, inc.
~ ORIENTAL RUGS -
4213 CONNECTICUT AVENUE, N.W.
WASHINGTON, D.C. 20008
Tel. (2021 EMerson 2 1600 • (202) Llmoln 7-2000
L XXXIX
DECEMBER 3— JANUARY 4
OLD MASTER DRAWING
Charles Stegeman
RECENT PAINTINGS
mm
urved front bookcase, circa 1815
88" tall, 59" wide, 10V2" deep, $4,750.
Pinxton China, nineteen pieces
yellow and white with red line,
England, circa 1799, $1,500.
AID MEMBERS
Louise A. Mtndrl
Don Allen
Julian DePret
1000 HAMILTON AVE.. LOUISVILLE 4. KY. TEL. (502) 587-661 1
Members of The A rt and A nliqtie Dealers League of A merit a, Inc.
ADZAK
ANDRL
AYRTON.
DERAIN
KAPLAN
KLINE
LAUTREC
LECEK
MANET
MOORE
PICASSO
REMBRANDT
RIOPELLE
STEGEMAN
TAFUR
TOWN
VASERELY
VILLON
HENRI MATISSE
Signed Lithograph 15/29
21'//' x 16'//'
Sears
(312) 265
Vincent Price Gallery
140 E Ontario (at Michigan), Chicago 60611
ANTIQUE ORIENTAL RUG
Outstanding selection of rare pieces in room
size, small size or runners. Collector's pieces.
CAUCASIAN
KA/.AK
< Alii STAN
CUBA
DAC iHIiS'I'AN
CHICHI
KARABACiI I
TURKISH
GHIORDES
KULA
OUSHAK
HEREKE
BERGAMO
LADIK
46 years of dealing in
PERSIAN TURK0&
KIRMAN TEKKE
Sl'HNA AFGHAN
KASHAN SAMARK/
TABRIZ KHIVA
IIRAC.HAN KHACHLI
SI I IRA/.
Antique Oriental Rurs
R R Markarian
c/o A. B. Closson Jr. Co.
4th & Race Streets
Cincinnati, Ohio 45202
513-621-1536
The Connoisseur, December! 1968
JOSEPH RONDINA
ANTIQUE FURNITURE WORKS OF ART
27 EAST 62 STREET
NEW YORK. \.Y. 10021
PLaza 8-2182
A \er\ tine Chippendale mirror original
gilding and glass.
3S.1, inches wide. 69 inches tall.
Pair of appliques of carved and gilded
wood.
13;', inches wide, is inches tall.
Early Georgian oak lowboy,
lovely nut brown color,
in fine condition.
England, circa 1730.
30" wide, 18" deep, 28" high.
FRANCHISED DEALERS
FOR DOUGHTY AND BOEHM BIRDS
AND CYBIS PORCELAINS
( H e welcome your
requests tor specific models)
Wakefield-Scearce Galleries
DIRECT IMPORTERS
Open every day 9 a.tn.-S p.m. Closed Sundays. 1 elephone. . 502 Af E 3-4382 Visit our Subterranean Silver Vault
HISTORIC SCIENCE HIEE, SHE1 BY^ IELE, KENTUCKY
. on BOTH main mads (U.S. 60 <ind 1-64) betun ei .' ■ • tile and Lexington
Member oj the Art and Antique Dealers League oj . 'nerica. Inc.
XCI
KENNETH BROWN
JEWELERS • ASIATIC ART
IL'-I (sceptre) carved ol boxwood. Ch'ien-Lung period,
I7.K>-I7'js A I >. i_j inches long. Showing 4 children
.unong many sacred hingi (ling-chili). The |L -I is one
el many Taoist emblems .nici represents longevity.
;/././ Prospect St.
La Jolla, California 92037
Box 1 1 1 4^4-2~oo
Inro: lacquer pouch inlaid with (old Ojimc: sliding head worn with the
inro I nctsuke
Pair of Georgian Sheffield three-light candelabra 1
and pair of matching candlesticks. c. 1790.
Antique English and Irish Silver
Old Sheffield Plate • Victorian Plate
Mint Sntinurs inc.
Bertram A. Wine
Please note our new address:
»i(>7 Madison Avenue, Suite 1000
New York. N Y. 10021
Members of the Art and Antique Dealers League oj America Inc
X
ANK PARTRIDGE
itPARTMENT OF SILVER
R CTOR: THOMAS LUMLEY
New Bond Street, London W. i
E ONE: 01-629 0834 CABLES: FRAPARTRI LONDON W.i
i American casket
ONG x si IN. HIGH.
1 8th-Century French Antiques
I "ins \ I I mahogany gueridon, ormolu mounts,
France Circa 1780. Top: 27 in. Height: 29 in.
CHARLES C. PATERSON
746 Madison Ave., New York, N.Y. 10021 • UN 1-1666
Member Art and Antique Dealers League of America
National Antique and Art Dealers Association of America, Inc.
Antiques from Historic Charleston
Mil l?()M|{ AKDMKNT OF I (til l Sl'MTKK
i II illiam 1(7.. // II (ill,,;- 1 {{.{}{■ I>12 1 I
22 \ 12, third lil!l6
iiifirllirr ii ill: pin mill ink sketrh i>j llii\ pnintitif! ihttril
/■ ''./. nltile (. it/it . II nil, i r nu\ slutitilteil ut Ft, Sumter,
<20,0t)(),
F.\hil,iie,l ut; Hun ,/,, in College. Ihunsieiel:, Me., Mint
Museum. < Inulotte. \ Citmlel Museum. Charleston, S.C.,
< nlumliin Iri Museum, Colnmliin, S.C. ami others.
Sckimiler 's Antique Shop
200 Kin» Slrorl, C.linrlrMon. South Carolina 29101
Ttliplioiic («0.3) 722-0«.>3
IIEISHY MILL (JALLFKIEH
743 FIFTH AVE. New York, N.Y. 10021
PLaza 3 - 8130 Cables: Berryhill New Yorii
"NATURE'S BOUNTY"
Scvcrin Roesen "The Williamsport Painter
Oval oils on canvas in original frame.
Overall 44 in. 37 in. Circa 1850.
ARPAD ANTIQUES, IN<.
FINE ANTIQUES AITRAISAI S
3125 M Street, N.W.
Washington, D.C. 20007 (202) FE 7-3424
MEMBER: APPRAISERS ASSOCIATION OF AMERICA
-f
The ( 'onnoisscur. December, i</>S
xcrv
PETER MACK BROWN
1525 WISCONSIN AVENUE, N.W.
WASHINGTON, D. C.
Louis XV gilt-bronze encrier
with a nodding chinoiserie figure.
French, mid-eighteenth century.
Length : fourteen inches.
CABLES:
■ANTIQUES'
WASHINGTON, D. C.
AREA CODE
202
FEDERAL 8-8484
mi
ASIAN
GALLERY
FAR EASTERN ART
AND
ANTIQUITIES
24 East 80th Street
New York. N.Y. 10021
Tel. 734-1 379
Bronze figure of a deer in recumbent gallop'
China, 3rd-2nd century B.C. Length 3^ inches
RICHARD S. RAVENAL, DIRECTOR
X< V
MALLETT
MALLETT AT BOURDON HOUSE LTD 2 DAVIES STREET BERKELEY SQUARE LONDON W1Y ILJ
TELEPHONE (01 629 2444 5 TELEGRAMS MALLETHOUS LONDON
ALSO AT 40 NEW BOND STREET LONDON W1
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SBEEEBEEBEEEBBEEEBEBEBBBBEEEEEBEEEBEEEEEBBEEBEEEEBBBEEEBBEBESBBHO
A mid 18th century French
provincial oak commode with
original handles.
Length: 4 ft.
Width: 2 ft. 2 in.
Height: 2 ft. 8 in.
IN NEW YORK
IN PALM BEACH
French bureau plat in original ebonized
finish and bronzes. Louis XVI. circa 1775.
50
26
28 J inches.
t 1;; C -
. v
iii" rrench terracotta lions.
Regence, circa 1 720.
32 inches in length.
EDWARD GARRATT
145 East 57th Street
Twelfth Floor
New York. N.Y. 10022
212 755 6X07
I 73 Sea\ iew Avcnul
Palm Bead
Florida 3348
305 832 5321
The ( Onnoisscur I >c< ember, p/»K
XCVll
By Appointment
Antiquaries of Chinese Works o» Art
to H.M. the Kino or Sweden
CJjmesit maxka of &rt
A pair of Chinese "famille rose" porcelain
models of cockerels, covered with rose,
black and brown glaies. CH'IEN LUNG
PERIOD: A.D. 1736-1795.
Height: 14 inches.
EXHIBITING ANTIQUE DEALERS FAIR; STAND 11
128 MOUNT STREET, LONDON, W.l
(Affiliated Company: Parke-Bernet Galleries Inc.)
will hold the following sales in December, each sale beginning at 1 1 am unless otherwise stated
ON VIEW AT LEAST TWO DAYS PRIOR ALL CATALOGUES POST FREE
LONDON
Sotheby & Co.
34/35 Now Bond Street.
London, W1 A 2AA
Telephone 01-493 7242
Telex: London 24454
Telegrams Abinitio, London
NEW YORK
Parke-Bernet Galleries Inc.
980 Madison Avenue, New York 1 0021
Telephone. 212-879-8300
Telex: New York 222643
Telegrams Parkgal, New York
Sotheby's of London Ltd.
980 Madison Avenue, New York 1 0021
Telephone 212-758-2891
Telegrams Abinitio, New York
CALIFORNIA
Sotheby's of London Ltd.
The Executive Life Building,
Suite 904,
9777 Wilshire Boulevard,
Beverly Hills, California 90210
Telephone 213-274-7329
Telex 677120
FRANCE
Representative tor
Sotheby & Co.
& Paike- Bernet Galleries Inc.
Valentin Abdy,
8 Rue de Duras, Paris 8e
Telephone ANJOU 2599
AUSTRALIA
Sotheby & Co (Australia) Pty Ltd
Representative for
Sotheby & Co
& Parke- Bernet Galleries Inc
R H.T Longden,
1 3th Floor, Princes Gate,
Corner of Flinders and Swanston Street,
Melbourne, Victoria 3000
Telegrams: Abinitio, Melbourne
CANADA
Sotheby & Co. (Canada) Ltd
Representative for
Sotheby ft Co.
ft Parke Bernet Galleries Inc.
David Mitchell,
1 76 Yonge Street, Toronto 1 , Ontario
Telephone (416) 861 -6761
Telegrams Abinitio, Toronto
ITALY
Representative for
Sotheby & Co.
ft Parke Bernet Galleries Inc.
A Chesne Dauphine.
42R I ungarno Corsini.
50123 Florence
Telephone 24264
L EBANON
Representative for
Sotheby & Co
ft Parke Bernet Galleries Inc.
Mounir Atallah,
P.O. Box 7095, Beirut
Telephone: 226338/2821 1 6
/ elegrams Auctionart, Beirut
Monday, 2nd December, at 1 0.30 am
Valuable Continental Books
the property of the Lite J. I. I ).ivis, Esq.,' comprising
Italian, Spanish, French and Portuguese books of
the fifteenth to eighteenth century. HI. ( 'at. 2s. 6d.
Monday, 2nd December
English and Continental Glass and a
Collection of Sealed Wine Bottles
the property of Mr. and Mrs. (i. 15. Slater, and
other owners, including an attractive 'Rock-
Crystal bowl by William Fritsche, an unusual
Webb s Burmese (ll.iss' centre-piece, baluster w ine
glasses and sweetmeat glasses, w ine glasses with .iir
and opaque-twist stems, a rare opaque-twist w ine
glass with green bowl and foot; early unsealed
bottles with traces of iridescence, sealed wine
bottles from various localities, some bearing dates
ranging from 1702 to 1837. Cat. (0 plates), zs.
Monday, 2nd December, at 2.30 pm
Indian, Nepalese and Tibetan
Sculpture and Works of Art, African
Oceanic, Pacific North-West Coast
and Pre-Columbian Art
the property ofR. L. Banks, Esq., M.C., and other
owners, including Gandhara sculpture, Central
Hastern and South Indian medieval stone sculpture,
.1 Nepalese gilt-bronze figure of Yi-I )am Samvara,
1 ibetan and Nepalese Tankas, Nepalese and other
wood carvings; a Bakongo wood nail fetish, two
tine Maori I ikis, an I aster Island wood lizard, a
Haida w ood rattle, a Marquesas Islands fan, ami a
Veraguas gold figure of an eagle. Cat. (40 plates), 1 4>.
Tuesday. 3rd December
Thirty-seven Illuminated
Manuscripts of the Ninth to
Sixteenth Century
the property ol the late Sir A. ( Ihcstcr Beatty. ( 'at.
(4S plates, s in colour), £} p.
Tuesday, 3rd December
Fine English Porcelain
the property ol Mrs. M. I Vclvc, tin Ut. I Ion. I ai
I'oulett (removed from I linton House, Somerset)
George K. Dodd, Esq., and oilier owners, com
prising a pan ol Chelsea crayfish salts and tw<
melon tureens all with red anchor mark, Chclsc.
botanical plates, and .m important Chelsea bow
w ith views o| Old Church Chelsea and I w u ken
ham, with gold anchoi mark, a rare How figure o
a s< 1 it 1 is] 1 bagpiper, anothei ol Pierrot and an un
usual How composite group, Worcester wares 0
the Inst period, including a junket dish witl
Kakiemon decoration and a pair ol Derby gold
finishes and other figures and wares. III. Cat.
Tuesday. 3rd December
Chinese Works of Art, Potte an
Porcelain
the property of A. I). C. Haines, Esc.' . B;
1st]., and late the lion. Anthony qut:
other owners, comprising an archaic m
vessel (kuci) a dated Ch'ien Lung gil ffl
cloisonne and enamel birds and anirs,ji
hardstone carvings; Lung Ch'iiat) . |
celadons; a collection of Chinese cx to
tor the Japanese market, Ch'ing bl' W
wares, Famillc-Vcrte porcelain, Family..
vases and other wares, a rare plat .vitfc
supporting the arms of Carr, wi Mjj
pretence and other armorial porcelaii 1U
Wednesday, 4th December
Impressionist and Modern F nta
Drawings and Sculpture
the property of the late Hugo Cass: ,iii
Philippe Ganqndt of Paris, Sefton Imc
O.B.E., R. M. Coode, Esq., Mr. Th. ||
berg, Thomas Pissarro, Esq., Mr. H dd M
of Beverly 1 lills, and other owners, Lira
rait de Monsieur de Witt by Jean-Fra;(|>isil
1 S47-4S, Tete tic Sonneur by HonorjH
1 S65-66, /c/cVbv Berthc Morisot.rs.G
de Dahlias by Henri Fantin-Latou, ffl
b'cnmw an (,'//<;/ by Pierre-Atiguste Fin
78, Poulailler and Laveuses by Ca Id
[878, Bonis do Seine b\ Alfred Sisley ,874
</< Bellevue In Paul Cezanne, [882- !
Geraniums by Paul Cezanne, watercriljj
I 'arise, I'eutree du ( Irand Canal by E.iinci
[894, Jeiine Fille coifjee d'un Fichu onlffl
Allguste Renoir, pastel, 1. 1 895, ( 1
senses by Edgar Degas, pastel, c. 181 .V'
b\ Henri Matisse, c. 190.1, Friilie Sim
Kandinskv, 1906, Icmnic s'essuyan.iHt
naid) by Pierre Bonnard, 1909, f
Alexej (awlcnsky, 191 1. Nu Do bout, m
11.11 d. 1. 1921, I. os Fiancees by Marc*
jo, Sextett dor Genien In Paul Kleefl
by Henri Matisse, ceramic, 1953, C
|ean I Jubuffet , 1 yfS 1 . ( at ,(115 plate 1 1
3v'-
Wednesday. 4th December, at , i0|
Fine Nineteenth-Century a
Modern Prints
the property ol the late the I Io M
Pleydell-Bouvene, Sac heverell Sit
I . ( i. Millikcn, the late I 1. 11 r\ Rose
other owners, including Kleine W\
K andinsk \ , Le Caje-Coiitorl In I lei
I autrec . Fauues el ( dierre, line
I'll assi 1, / 0 Pit adoi lilesst', aqua
I'uasso, Canoiio^o by Pierre Boruu
Madciien, lithograph printed in col
Munch, D01 Lonunbaiidher, b\ I
also prints by Braquc, I lelleu, K< 1
Scgonzac, Tissot, Toulouse-1 autrec
Whistler. ( 'at. (is plates), 2s.
4th December, at 5 pm and
/2.30 pm
ii ist and Modern Paintings,
nd Sculpture
if the late Sir A. Chester Beatty,
, Escj., Cecil Beaton, Esq., the late
is, Miss Fleur Cowlcs, and cither
ing La Crcuse a Genetin by Jean-
id Guillaumin, feune Fille an
! rouge by Mane Laurencin, Archi-
:tion by Liubov Popova, c. 191 8, Lc
cent van Gogh, pencil, [882, Scene
jene Boudin, watercolour, Scene de
n-Lcuis Forain, pastel, Portrait de la
iw Bihesco by Edouard Vuill.ird,
, Antibes by Raoul Duty, water-
mache, Tete d' Homme by Ossip
<-", c. ig$$,Jeune Femme accoudee by
indian ink, 1944, Portrait de Femme
0, indian ink, 1943, Tete de Projilby
lit, indian ink, over etching, and
:ne Delacroix, Marv Cassat, Tou-
Constantm Guys, Fantin-Latour,
;orges D'Espagnat, Giacomo Balla,
: C rico, Andre 1 Htnoycr de Segonzac.
Hi
1 December, at 1 0.30 am
1 and Foreign Silver and
the Rt. Hon. Lord Poulctt, Arthur
d, !q., Captain F. N. H. Widdrington,
~" lgham, Esc]., the Dowager Lady
. M. Miles, and other owners, 111-
taster, maker's mark H.B., [651, a
cer's mark R.S., 1662, a pair of
candlesticks, by Peter Harache,
bowl, by Jonathan Jackson, 1705,
: cellars, by Paul de Lamerie, 1735,
e candlesticks and a pair of branches
744, a beer jug, by Richard Richard-
51, a set of four entree dishes and a
• Richard Cooke, 1802, a pair of
y Richard Sibley, [828, six dozen
id twenty-six oval meat dishes of
probably by William 1 uitc, 1764,
nics, coffee pots and salvers. Cat.
5 December, at 2.30 pm
a Specimens, Shells,
Mounted Birds and other
C iosities'
K lis Grace die Duke of Northumber-
C t., P.J. B. Drury-Lowe, J. Went-
]., the late G. H. Storer, Esq.,
cl?r owners, comprising geological
n< iing fine large crystal groups, gold
' re mounted birds, including a Great
H Owls a lesser bird of Paradise and
it tropical birds, also shells, includ-
ei i' Slit shell, butterflies, a Narwhal
i' cabinets. 111. Cat.
Q cember
t lglish Furniture, Works
ig and Carpets
Armorer Countess of Breadal-
: Hon. Anthony Asquith, Sir John
e A. E. Worswick, Esq., and sub-
operty of his widow, the late Mrs.
1 )elphine Elizabeth Paul, including a bouquet of
Regency shellwork flowers, a set of four Samuel
Dixon bird pictures; a pair of George III satinwood
and harewood commodes, a pair of George III
semi-circular satinwood cabinets, a pair of Regency
rosewood side cabinets, a set of six Hepplewhite
armchairs, a pair of George III neo-classical side-
tables, made tor Sir Lawrence Dundas, a George
III marquetry semi-circular commode. Cat. (19
plates). 8i.
Monday, 9th December, at 1 0.30 am
Fine French Paperweights
the property of O.J. Roots, Esq., Ralph ["nomas,
Esq., Mr. and Mrs. C. H. Wilkinson, and other
owners, including rnillifiori and colour-ground
weights, fine Baccarat and St. Louis flower
weights, Baccarat and St. Louis mushroom
weights, St. Louis fruit and crown weights, .111 un-
usual St. Louis sulphide fish weight, an interesting
small 'ducks on a pond' weight, a rare Bac carat red
snake weight and a fine Baccarat dark blue double
overlay weight. Cat. (12 plates), 4.S.
Monday. 9th December, at 1 0.30 am and
following day. at 1 1 am and 3 pm
Nineteenth Century and Modern
First Editions, Press Copies,
Autograph Letters and Literary
Manuscripts
the property of Lady Pooley, Kingsley Amis, Est].,
I he Authors Club,' Col. O. T. Firbank, O.B.E.,
and other owners. 111. Cat.
Monday, 9th December
Objects of Vertu, Victoriana, Art
Nouveau and Art Deco
the property of The Dowager Countess of Pem-
broke and Montgomery, Lady Lebus, Mrs. S. W.
Morgan, and other owners, including an Italian
hardstone tazza, seventeenth century, a Battersea
enamel plaque ot Venus and Triton, a Battersea
enamel Ann Gallican Society plaque, a fine George
III gold and hardstone desk seal; a large and rare
lustre plate by William de Morgan, and Fabbrica
Cantagalli, a rare glass vase by Emile Galle in-
spired by a fourteenth century Syrian mosque
lamp, r. 1S7S, .1 riffany-Favrile |ack-in-thc pulpit
gold iridescent vase; an Orrcfors functionalist glass
vase by Simon Gate, dated 1930, .1 rare glass vase
by Maurice Marinot, c. 1922, a tine pair ot Arts and
Cratts panels by Frederick Marriott in mothcr-o'-
pearl, tempera, gilt gesso and opals. 111. t at.
Monday, 9th December, at 2.30 pm
Scientific Instruments, Watches and
Clocks
the property of various owners, comprising a
theodolite by Thomas Jones ot Charing Cross, a
rare seventeenth century wooden quadrant and sun
dial, a European Astrolabe, Persian and Indo-
Pcrsian Astml.J- -s, telescopes and microscopes; a
gold and enamel 1 ased quarter-striking clockwatch
by George Prioi f 1 >n, c. 1800, a gold and en-
amel fob and chatelaine y Louis de Lamare, Paris
1771, Breguet, No. 2ii<s, a .Jver-cased 'Souscrip-
tion', minute repeating gold watches, gold and
silver pair-cased watches, a singing bird clock, a
French nineteenth century constant forc^ <dock, an
astronomic clock signed Raingo Fils Ainc, *8i8,
German quarter-striking automation tabern.. ;-
clock with alarum, c. [600, a sixteenth century gilt
metal case 1 or an astrolabic clock by Jeremiah
Metzker, 1 564, table and bracket clocks by Thwaitcs
c\ Reed, Payne, Vuillamy, Frodsham, I )aniel
Quare, John and Joseph Knibb and others, in-
cluding a burr-walnut grande-sonnerie bracket
clock by Joseph Knibb; longcase clocks byjosiah
Emery; William Spcakman, Richard (lenient,
Francis Stamper, John Wise, Peter Garon, George
Graham and others, including an early marquetry
longc asc clock by I liomas I ompion. III. Cat.
Tuesday. 10th December
Important Chinese Ceramics,
Archaic Bronzes and Works of Art
the property of the Rt. Hon the tail Poulctt (re-
moved from Hinton House, Somerset), Mrs. Enid
Lodgt and the late Brodie Lodgt, Esq., and other
owners, including Neolithic mortuary jars, T'ang
funerary figures and wares, a Chiian censer and
Kuan waterpot, Honan, ch'ing pai and Korean
wares, a series of Lung Chun celadons, a four-
teenth century blue and white potichc, a small
fifteenth century stepped toot vase, a Ch'eng Hua
Imperial yellow dish, Fa Hua and other enamelled
wares, sixteenth century blue and white; a green-
glazed beehive waterpot, pcachblooms and other
monochromes, 'Famillc-Vcrte', and a large pair ol
blue and white vases, a pair ot figures ot cranes, an
armorial service and a pair ot large jugs, a punch
bowl with the royal arms, a pair of vases from the
'a la Pompadour' service; jade carvings and canton
enamels, cloisonne enamel vases, plaques and dishes,
an important Shang bronze covered ritual vessel
(Fang-Yi), two bronze wine vessels (Ku and Chiao)
and a Han covered Hu and other ritual vessels. III.
Cat.
Tuesday, 1 0th December, at 1 1 am and 2.30
pm
Fine Old Master Drawings
the property ol R. A. Morritt, Esq., Lord Rennell
ofRodd, K.B.E., C.B., Alan O'Brien, of Dublin,
Mrs. O. Woods, Mrs. M. L. Mclntvre, A. S.
Cussons, Esq., A. f. Totter, Lsq., M. Adams-
Acton, Esq., Mrs. Nell Shelton, the late II. t .
Green, lsq., Madame |osette Widal, from the
Collection ot the late Professor Fernand Widal,
and other owners, including The Mocking ol
Christ by Rembrandt Harmens/. van Rijn, The
Triumph ol Mordecai by Sir Peter Paul Rubens, An
Allegory in the honour of the 1 louse of Barbcrini by
Pictro da Cortona, A Study 0/ the head ol Michel-
angelo s statue ol Giuliano de' Medici by Jacopo
Robusti, called II Tutoretto, .-I Study for 'The
Madonna ami Child with the Patron Saints oj Modena'
and A Study of an old hoarded man by Giovanni
Francesco Barbieri tailed II Guercino, Putti round
an ornmental shield and crown and The l'utti in clouds
by Francois Boucher, Flora, by Rosalba Carrier.!,
A Portrait ol George III as the Prince of Wales, by
[ean-Etienne Liotard, A view oj a Dutch Ship by
Willem van der Velde the younger, and Trees on a
hillside by Antoine Waterloo. 111. Cat.
Wednesday, 1 1 th December, at 1 0.30 am
Western and Oriental Manuscripts
and Miniatures
the property of Lady M. B. Thondey, Dr. A.
Campbell, Madame Lotus A. Andcnmatten, Mrs.
A. L. J. Grabuni, A. J. Turner, Esq., and other
owners. 111. Cat 85.
Wednesday. 1 1 th December, at 1 1 am and
2.30 pm
Modern British Paintings, Drawings
and Sculpture
the property of Madame A. Schlumbcrgcr, Sir
l >avid Llewellyn, Oscar Weiss, Esq., Mrs. Edgar
Morns, the Rt. Hon. the L.irl of Wilton, the Rt.
lion. Leila, Viscountess Hampden and other
owners including an important group oj Vorticist
drawings by William Roberts, R.A., a fine scries oj
watercolours by Gwcnjohn. Henry James, pencil ami
blue wash, i <;-'>, by Sn Max Bccrbohm, Portrait of
Miss Fletcher by Harold Gilman, Portrait of Orovida
Pissarro, 1907, by Lucien Pissarro, A huntsman on a
orey horse, by Sir Altrcd Munnings, I'.R.A., a fine
seriei oj drawings, by Henri Gaudicr-Brzcska, a
carved initial in Portland Stone, c. 1930, by Eric Gill,
Tomorrow Morning, 1929-44 bv Edward Wads-
worth, Still life, c. 1930, b) Sir Matthew Smith,
Garden Place, Ancoats, 1944 •l|U' «' horse and cart out-
side a house, 1044, by 1 aurence Stephen Lowry,
R.A., I Wit's ('/ Chepstow and Carnarvon Castle hy
)ohn Piper, Lcda and the Swan, i960, by Sidney
Nolan, and a oronp of bronzes by Henry Moore,
O.M., C.H. IlLCat.
Thursday. 1 2th December, at 1 0.30 am
English and Foreign Silver and Plate
the property of K. Escott, Esq., the late Mrs. H. C.
Inns, Mrs. K. V. Barber, Mrs. H. Cotton, J. C.
Wright, I sq., Mrs. O. B. rhornton, and other
ow nets, including a c.a kettle and stand by I homas
Whipham, 1754. a coffee pot by |olm Payne, i7_sx,
a pair ol tea caddies In William Vincent, 1772, a
three-piece tea set probably b\ Samuel W hitford,
[S12, 1 Victorian centrepiece candelabrum b\ E. |.
and W. Harnard. I N 4 S , a number ol pieces by
I lestci Bateman, and a collection of wine labels,
111. Cat.
Thursday. 1 2th December, at 1 0.30 am
Important Jewels
the property ol Viscountess Edman, Lad\ I uker,
Mis. ( '. de Strasser, Mrs. ('. Howard Smith, Miss
Pamela I etley, Mis. S. 11. Elkington, Lad\ Ivor
Churchill, and other owners, including a magnifi-
cent brooch-pendant m sapphires and diamonds, a
diamond stomacher brooch by ("artier, a circular
and baguette i ut diamond net klace bv Bouchcron,
two pearl necklaces with diamond clasps, several
emerald and diamond three-stone rings, three dia-
mond flexible bracelets, another in rubies and dia-
monds, a sapphire and diamond double-clip
brooch, two pendants and a bracelet In ( iiuliano, a
ii : i m be i "I diamond sin l: le- and three-stone ruins, a
\ ii ton. in tiara in pearls and diamonds, a diamond
two-stone cross-over brooch and bangle. Cat. (j
■ I ■
lay. r , a 1 1 1 a m a n d
The Gilchrist Collection of
Victoriana
the property <>t Mrs. Gertrude Gilchrist ol ( owes,
Isle ot Wight, including wax- and Parian-headed
dolls, mechanical dolls, a monkey automaton, two
ship automata and a l ine I )iamond Jubilee Mon-
tanari portrait doll ot Queen Victoria; works ol art
and miscellanea, including examples of shell- and
wax-work, three Crosslcy 'Mosaic' pictures, clear
and coloured bells, pipes, walking sticks, paper-
weights and millefiori and spun glass, pottery and
porcelain, including examples ot Goss Parian ware
and a pair of Samson figures, books and printed
items, musical boxes and organs, including a
Rcgina 'autochange' musical box, perambulators,
including a wheel chair, reputedly used by Queen
Victoria at Osborne House, and other furniture.
Cat. (4 plates), 25.
Thursday. 1 2th December, at 2.30 pm
Important Old Master Etchingsand
Woodcuts and Fine Modern Prints
the property of various owners including an im-
portant group ot engravings by Diirer with fine
impressions of 77ie Nativity, St. George standing,
Erasmus oj Rotterdam, and the I 'irgin and'Child with a
pear; Jacques Bellangc The three Marys at the Sepul-
chre; (i. Ii. I icpolo Adoration of the Magi, first state,
and three plates from the Scherzi di Fantasia, also
works b\ and atter Barocci and Callot, nineteenth
centum and modern prints by Whistler, Forain and
Morandi. 111. Cat.
Friday. 1 3th December
Important French Furniture, Clocks,
Ormolu and Ormolu-Mounted
Works of Art, Tapestries, Rugs and
Carpets
the property of Baron Eli de Rothschild, the Rt.
Hon. the Earl of Lanesborough, the late the Hon.
Mrs. A. E. Pleydell-Bouveric, and other owners,
including a Louis XV Aubusson tapestry, ormolu
and ormolu-mounted works of art, including pair
of Louis XV rococo wall lights, a Louis XV hall
lantern, two pairs of Regcncc wall brackets, a
pair ot Louis XV candlesticks, attributed to the
brothers Slodtz; a Louis XV longcase clock by
Henry Voisin, the case by Lieutand; three Louis
XV ormolu-mounted black lacquer commodes, a
Louis XVI giltwood state bed, a Louis XIV gilt—
wood console table, a Louis XV kingwood coif-
feusc signed Migcon and a Louis XVI side table in
ebony and [apanesc lacquer attributed to Adam
Weis'weiler. III. Cat.
Monday. 1 6th December, and following
day
Printed Books
the propertx ol various owners. Cat. zs.
Monday. 1 6th December, at 10.30 am
Fine Firearms and Armour
the propertx of the Armouries, H.M. lower of
I ondon (sold by order ol the Master ol the Arm-
ouries), l)r. Rabett, I. P. An her. Esq., Major
I )ennys Oglander and other ow net s, including two
tine French seventeenth century smallswords, a
Lloyds patriotw hind sword presented to Lieut.
I hos. Robt. Pye, a d.b. ovcr-and-under percussion
iap pocket pistol by Joseph Egg, a Bohemian
fhiitloik d.b. Officer's pistol In Felix Roscher 111
("arlsb.nl, mid-eighteenth century, a pan ol
Spanish miquclct lock belt pistols, late eighteenth
< entun , a pair ol American percussion cap duelling
pistols by Spang & Wallace, Philadelphia, mid-
ninctcentli century, a Saxon w heel lock pistol, late
sixteenth century, a Scottish all-steel flintlock belt
pistol, dated 1723, a German combined wheel lock
pistol and war hammer, mid-sixteenth century, a
pair ot French flintlock holster pistols by Frencl, c.
1720, a pair of cased percussion cap duelling
pistols by John Manton, c. 1832, a pair ot flintlock
presentation pistols by Bennett &
Austrian wheel lock sporting rifle 1
Zelner, early eighteenth centurv, {
Tschinke, mid-seventeenth century,
flintlock revolving rifle, c. 1820, a flijitli
loading carbine, by David Wynn, early
century, a French d.b. flintlock shot
Puifforcat, <\ 1760, a Prussian Roval fliri|l.
mid-eighteenth century, .111 Austria
loading fowling piece by Kualeck, early
century, a Bohemian flintlock fowling p
eighteenth century, a German target
late eighteenth century, and a Gothic
German or Austrian, early fifteenth cent
Monday. 1 6th December, at 2. 30p
English and Continental Glass
the property of various owners. Cat.
Tuesday. 1 7th December, at 1 1 arr
2.30 pm
Japanese Works of Art
the property ot various owners. 111. Cat.
Tuesday. 1 7th December and folio1
day
English Pottery and Porcelain
the propertx ot various owners.
Tuesday. 1 7th December, at 2.30 p
Egyptian, Western Asiatic, Grj,
Etruscan, and Roman Antiquit
Islamic Pottery, Indian Sculpti
African, Oceanic and Pre-Colu
Art.
the property ot various owners. Cat.
Wednesday, 18th December, at 1 r
2.30 pm
Old Master and Eighteenthan
Nineteenth Century Paintings
the property ot Lady Vansittart, M
Sedgwick, and other owners. Cat. (3 pla -
Thursday. 1 9th December, at 1 0.3(
2.30 pm
English and Foreign Silver and
the property of various owners.
Thursday. 1 9th December and folU1
day at 1 0.30 am
English and Continental Furni
Works of Art, Textiles, Rugsat
Carpets
the property ot various owners. 111. Cat.
Thursday, 1 9th December
Fine Musical Instruments, Pev
Works of Art
the property of the Rt. I Ion. the Counti'
borough, and other owners, including i
Italian violin bv Antonio Stradivari, an
tine French viola by Jean Baptistc Vol
Italian violm In Antonio Gragnani, and
group of violin bows, including bow
Sartory, Tourtc, l.tucnko and Hill
Cat.
Thursday. 1 9th December, at 2.30
Eighteenth and Nineteenth Ce
Drawings
the property of various owners. Cat. is<
DTHEBYS
Jl'sDAY, 10th DECEMBER
MPORTANT CHINESE ARCHAIC
*|tONZES, CERAMICS AND WORKS OF ART
ejroperty Of VariOUS Owners Illustrated Catalogue
A bronze ritual vessel. 'Fang Yi', Shang Dynasty. 9| inches high. ^\ inches wide
PARKE-BERNET GALLERIES • Inc
Affiliated with Sotheby & Co.. London
980 MADISON AVENUE, NEW YORK, NY 10021
THURSDAY. 12th DECEMBER, at 1-45 pm
FINE FRENCH AND AMERICAN
PA PER WEIGHTS
including
BACCARAT CLICHY • ST. LOUIS • SANDWICH and MILLVILLE weights
the property of a Midwestern private Collector and Mr G. Herbert, of British Columbia, 'an
On view from Saturday. 7 th December
Illustrated Catalogue % 1. by mail $ 7 .50. also available from Sotheby & Co . L ondon
Baccarat panelled turquoise carpet-ground
ft
■
4 ft w
A Baccarat deep pink, primrose weight.
3i inches
A St. Louis faceted upright bouquet weight.
3^ inches
A St. Louis snake weight on a greet, ndw
pebble ground, the snake is composed)
and white latticinio threads with redwY
filigree spiral coil around the penme
A Baccarat red double clematic and garland
weight. 3,\ inches
A faceted Baccarat pom-pom weigl '
The ( < innoisM-iir, December,
in*
C
SOLE LTD
1 I STREET. LONDON WC1 01-405 2712
J British Antique Dealers' Association
n the British Museum
ff fez-
's. J. SHRUBSOLE CORP
FAST 57th STREET. NEvV YORK 1 0022, PLAZA 3-8920
Memt,L ' the National Antique and Art Dealers' Association of America
A pair of George II sauceboats of unusually fine quality.
Maker: Ayme Videau. London, date 1744. Weight: 44 oz. 18dwt.
SPINK
Founded 1666
ORIENTAL ART ANTIQUE SILVER EUROPEAN GLASS & PORCELAIN ANTIQUE FURNITURE
ENGLISH PAINTINGS & DRAWINGS CLASSICAL ANTIQUITIES COINS MEDALS & ORDERS
H* appmnmifnt
MHMItdt
/lv op/will
pink & Son Ltd., King Street, St. James's, London, S.W.1. Telephone: 01-930 5275. Cables: Spink London, S
lmscott,
rilliam Morris's holiday home
JFTY
great flat expanse of the upper Thames valley east of
dc a group of mature elms close by the river marks the
icultural settlement of Kelmseott. The village, eon-
four large farmhouses and some two dozen cottages,
out west and south of the church of St. George, long
jf-easc to nearby Broadwell, which in the Middle Ages
m the great diocese of Lincoln. South again and tucked
lind its garden walls at the end of a no-through road to
les stands Kelmseott "Manor' (No. i). The suffix has no
warrant, but it indicates the relative scale and import-
e house in the village.
as the place which William Morris discovered in his
a holiday home for 'the wife and kids', |ancy (Burden)
l and May their children, and as an escape for himself
immense pressure of work in London. He never ow ned
. He always held it on a joint tenancy, first with Dante
.ossetti from 1X71 to [874, then, until his death, with
; his publisher. The affection he had for it led him to
London home Kelmseott House and thence to call the
ch he set up in Hammersmith 111 [891 the Kelmseott
his way the name of a small remote Oxfordshire village
1 international tame among the educated,
s widow Janey bought the house in 1913, but she died
d|ycar, and May the younger daughter then lived there
death 111 [938. Mav left it and most of the contents 111
ifl)xtord University, but a quarter of a century later the
vaj found to be invalid and the whole property thereupon
Mo the residuary legatee, the Society of Antiquaries of
™iince 1964 the Society has had to face the immense task,
■ isc, of saving the building from collapse. The work was
HI in 1967 and Kelmseott is now sate and sound.
Manor' is a beautiful and unspoilt example of the local
Hj rc of the stone-building region extending from Oxford-
Hward into Gloucestershire and north-w estward into the
Ms. It is of two dates; the primary, low-built house of
lm~) survives more or less complete and retains most of the
wmbcrwork and stone fireplaces. To it a lofty and com-
W. of rooms was added on the north-east in about [67 ».
Hpy one Thomas Turner (1620-82) w hose family arms.
Hi 1665, are displayed on a contemporary hrcplacc-
Hwithin. The addition has been made 111 a discrete way,
Hart from blocking two windows at the north end of the
]■ front, it has involved virtually no destruction of any
•M- original house. The almost tow er-like appearance of
H>n in comparison with the lower, more formal building
jS'omposition into the picturesque. This may well have
tSispcct which endeared the 'Manor' to Morris a
;Jt romanticism had not given place to sterner thing
:m by 1871 : the publication of The Harshly Paradise was
1. The cast front of Kelmseott in Oxfordshire, showing the original, low
building of about 1570 and the lofty Turner addition ofa century later. The
Classical surrounds to the attic w indows are the only recognition of the
contemporary Renaissance fashion in architecture. For the rest, the building
is entirely in the traditional style of the region. This is the aspect shown in
the woodblock frontispiece to the Kelmseott Press edition of News from
Nowhere.
2. Kelmseott 'Manor' and outbuildings seen from the west, from the home
mead. The pyramidal-roofed building contains the jakes. The dove-cote
is to the right. National Monuments Record, Crown Copyright.
•;
205
i
Colour /)/,!/<• i . The North or Garden Hall, showing the o.ik screens on which arc hung probably the earliest Morris fabrics to survive. I lu-y wcr
to hang round the walls of William and |aney Morris's bedroom at Red House. On the far wall hangs Morris's 'Cabbage and Vine' tapestry.
Colour plate 2- Morris's four-poster bed, with the poem 'For the bed at Kelmscott' composed in l Kyi embroidered on the vallancc by Ma)
helped, it is s.iid, l>> Lily, sister of \\ . H. Yeats. The embroidery pattern of the curtains is based upon Morris's first design for a wallpaper,
(1864). The bed-spread with the flower bouquets and a quotation from Morris's poem 'A Garden h\ the Sea' (1H67) was embroidered H
Morris with the help of Mars Augusta de Morgan, sister of William lie Morgan, in 1X1)=,.
:ed onlv the year before. Even Rossetti who grew
with Kelmscott and called it 'the dozicst dump of grey
lives' confessed to a deep affection tor the house,
lowever are proof against the picturesque, especially if it
tly bucolic and mellowed by time, and today the simple
architecture and gentle qualities of the old building are
ifhcient for affectionate admiration (No. 2). The con-
jwever, winch include so many of the works of Morris
friends are of more esoteric interest and demand some
ige of the history of the Morris circle if they are to be
r understood and appreciated.
is and Rossetti met Jane Burden in Oxford in 1S57 when
17. They and their friends, including Burne-]ones, were
•d with her beauty: a 'stunner' was their epithet! In 1SS9
married her, having commissioned Philip Webb, the
:, to design a house for them. The result was the famous
use at Upton in Kent. Furnishing the house was a prob-
Morris could find neither furniture nor fabrics in cou-
pe rv taste that he liked. Together with various friends
nt in different branches of the arts and crafts he therefore
)rk to design furniture and fabrics tot it. The notion then
Morris, Burne-Jones records, 'ot beginning a manu-
of all things necessary for the decoration ot a house,
bb ad already designed some beautiful table-glass, made by
of Whitefriars, metal candlesticks, and tables tor Red
.v
Cfoffro> cmurrr
Kelmscon
House, and I had already designed several windows for churches,
so the idea grew of putting our experiences together for the
service of the public'. This led directly to the formation of the
'Firm' (Morris, Marshall, Faulkner c\ Co.) which opened for
business in 1S61. Morris was manager, Marshall surveyor and
engineer, Faulkner kept the books; tor the rest, Webb was the
architect and Rossetti, Burne-Jones and Ford Madox Brown were
the artists. They were prepared, professedly at least, to pro. luce,
by themselves or under their supervision, mural decorations,
architectural carvings, stained glass, mctalwork, furniture, em-
broideries and stamped leather. The help of [ancy and her sister
Bessie and Kate Faulkner was sought tor the embroideries.
Examples ot the work ot all these associates, excepting Marshall
and Faulkner, survive at Kelmscott. In [864 the first wallpapers
designed by Morris and Webb and printed by Messrs. [cfFrey and
Co. of Islington went into commercial production, and in 1 N6(>
and 1867 the 'Firm' was commissioned to undertake important
works at St. [ames's Palace and the Victoria and Albert Museum,
which established its reputation.
Meanwhile Morris had written The Defence ot Guenevere, Tin
Life and Death c/ Jason and The Earthly Paradise. By 1X70 he had
published three Icelandic sagas and had begun to produce
illuminated manuscripts. Then 111 [875 having reorganised the
'Firm' as Morris ds. Co. he produced his first designs tor machine-
made carpets and also published a number of Northern love
item
> >4*
3. Morris's design for the stamped leather binding of the Kelmscott Press
( Chaucer drawn in 1895, some ten months before his death.
4. The 'Blue Silk Dress', Rossetti's portrait of Janey Morris begun in 1866,
when she was 26, and finished in 1868. 'They that would look on her must
come to me' (Rossetti, The Portrait, 1868).
5. Rossetti's pencil study of Janey Morris, aged 21, for the Virgin in his
altar picture in Llandaff Cathedral. May Morris, the daughter, considered
it particularly valuable as portraiture in its 'freedom from type-exaggera-
tion'.
stories and .1 translation or the Aeiieid. At this time too he was
much concerned .ihout the over-restoration of ancient buildings
then in full spate anil in 1^77 founded the Society for the Pro-
tection of Ancient Buildings. I Ins coincided with the beginning
of .111 interest in politics, which, after he had openly declared
himself .1 Socialist in 1883, occupied much of his time and ener-
gies for the rest of his life; hut his intense activity in the other
fields was apparently little affected. In [878 he had begun
tapestry weaving and produced the 'Cabbage and Vine' tapestry
now at Kelmscott. In 1881 the Morris <S. Co. workshops were
transferred from I ondon to Merton Abbey in Surrey and thence
came twenty or more of the beautiful printed chintzes designed
by Morris, smh as 'Kennet and 'Wandle'. In 1884 he w as selling
Socialist pamphlets .it street corners and helping to found the
Socialist I eague, the next year he w as arrested for taking part in
political disturbances and the year after was fined on a similar
charge; 111 1887 he published a translation of the Odyssey]
So Morns s astonishing involvement continued until his death
in 1896, but two achievements in the later years are relevant to
Kelmscott: the publication of his Utopian tale News from
Nowhere 01 (in lipocll of Rest ami the foundation of the Kelmscott
Press. News from Nowhere is a socialist allegory which is con-
trived as a progress up-river from I ondon, ending at the bourne,
'the old house by the Thames', which is an exact and loving
des< ription of Kelmsc ott ; indeed the woodcut frontispiece to the
Kelmscott Press edition (1X92) of the work is of the east front of
the 'Manor' (No. 1). The Press was started in 1891 and Morris
designed both the 'Golden' and 'Chaucer' types for it; he also
designed hundreds of the decorative borders and floriated
initials and, with IJurnc-Jones, i >l the illustrations actually cutting
many of the wood blocks himself. His ambition was to punt a
sumptuous ( '.liiiiui 1 . tins he ac hieved and the lust copy was
208
6. May.Morris,"aged y, the younger daughter of William and Janey Mc .
by Rossetti, drawn in coloured chalks in 1871, the first year of Rossi i
co-tenancy of Kelmscott.
handed to him shortly before his death; his design for
stamped leather binding draw n in December 1X95 hangs br
his bed at Kelmscott (No. 3). ,
After Morris's death most of his possessions w ere broughtfl
London to Kelmscott, w hich explains w hy the house is so ric:
reminders of his industry, creative ability and practical tnrr
mind; but the presence there of no less than six portraits of Ja
Morris (and at least five others until sold m 1939) all byRosa
together with his portraits of |ancy's two daughters, fenny
May, also requires explanation, and the story is largely on
emotional plane. Reference has been made to the obsession
Morris and Rossetti with Janey as early as 1857 and to thefac
Rossetti's co-tenancy of Kelmscott from 1S71 to 1N74. Fi
those1 seventeen years there survives a series of S7 known stu
of her by Rossetti. Alter the beginning of the putative wAm
fro/5 at Kelmscott, events perhaps speak for themselves. In
same year Morris left to spend two months 111 Iceland, in 1
Rossetti attempted suicide, in 1873 Morns visited Italy ami
visited Iceland, in [874 Rossetti, verging on another breakdo
left Kelmscott. [aney herself was already suffering bout'"
fatigue 111 the mid 'no's, but in the following decade she wasc(
stantly ailing, and the likely diagnosis is largely chronic dep
sion. I he degree of intimacy between |aney and Rossetti rem
unknow n, but the neuroses suggest repression
' I he hour when you too learn that all is vain,
And that I lope sows what I ovc shall never reap
(Rossetti, Sonnets, No. 44).
Even in so highly-strung a man as Rossetti, the fact that
exceedingly disagreeable review of Ins poems was publish' '
1870 would, of itself, seem insufficient to account fori'
breakdowns.
All (his quasi-tragedy is now nearly a century p.iNt: the sad
he lue serge hangings from Red House
mtl 1 the coloured plate of the North or
all. Their daisy pattern was adapted
vii s from a Froissart MS. in the British
(Harl. MSS. 4379 Ho) and embroidered
Morris, her sister Bessie and Kate
H S.iliotiiil Monuments Renin/, Crown
Y>i '■
C I can' hanging from Red House
v Morris about 1857. For this he re-
ader technique of embroidery. It was
highly coloured, but the colours are
st entirely flown. Morris adopted Van
otto 'Als ich kan\ which no doubt
v his visit to the Low Countries in 1856.
<). The 'Cabbage and Vine' tapestry desi| idb,
Morris, his first piece and the only one ovw
entirely by him. It was begun in May and ishec
in September iXy> in 516 working hour
10. [able designed by Philip Webb,
as "the first made', presumably, that i:iyA|
'1 irm' (Morris, Marshall, Faulkner&G .-stj»
lished in April 1K61. It is indicative if ii
nostalgia tor the Middle Ages among tr lone
circle in early days. Wuional Monument ram
Crown Copyright.
Un ished embroidery some 4A ft. long for one of the wall hangings at
1 H 5 ;. The design derives from Morris's early sketch ' 1 Bur-
■ jueen Guenevere made about 1857, before their marriag< It
the difficult technique of stitching thick wools throug..
ioi drawn threads. The completed figure would be cut out .
hqu >n %-elvet or serge.
12. One of the attics at Kelmscott, 'quaint garrets amongst the great
timbers ot the roof, w here of old time the tillers and herdsmen of the manor
slept' (Morris. Sews from Nowhere, iSoot.
is gone from Kelmscott and the beautiful, it poignant. Rossetti
portraits ot fancy remain. The most important is the 'Blue Silk
Dress (No. 4) finished in 1868 when she was 28, which has the
superscription
"Conjugc elara poeta. et praeelarissima vultu,
Deniquc pietura elara sit ilia mea
which may be translated, 'Famed by her poet husband, and ot
surpassing tame tor her beauty, now at last let her be made
famous by mv painting . This echoes the last line ot Rossetti s
passionate sonnet. The Portrait: 'They that would look on her
must come to me . written in the same year. The more sensitive
portrait and. according to May Morris, the best likeness is the
pencil drawing of her when she was 2\ (No. 5), which was the
study for the Virgin in Rossetti s great altar picture in Llandaff
Cathedral. His portrait of May herself (No. 6) was drawn at the
'Manor' in the first year of the Morris-Rossetti tenancy, when she
was 9.
At Kelmscott the literary aspect of the Morris epoch is epitom-
ised by the collection ot Morris's published w orks, Kelmscott
Press books and certain MSS written and illuminated by him.
The socialist aspect is less evident in this country place except in
so tar as the vernacular building and the contents express Morris's
belief that everv man will bv light ot nature make the common
surroundings of life beautiful it by freedom from oppression,
exploitation and sense of class inferiority he can take pleasure in
his daily necessary work. 'It is the lack ot pleasure in daily work
w hich has made our towns and habitations sordid and hideous"
i\ 1
IJ. William Morris i lv?4-9<Si. aged about 53. From an original photograph.
14. Death portrait of '. Morris by Charles Fairfax-Murray. 3 October IN)6.
recently rediscov ered in Paris in a barge moored in the Seine by the Place
de la Concorde.
(Commonweal. I SS>). For all the subtlety of Morris's later d
and his mastery ot so manv crafts, the visual effect of Imp
sions. products and personalia at Kelmscott is one or simp
even ot the home-spun : the psychological effect is of trancr
and. above all. ot the pleasure that has gone into the wu
creation in the way expressed in Commonweal (Col. Plate il
The contents evoke Morris most vividly through the an
the crarts. Here are probably the earliest Morris fabrics tosa
the embroidered hangings No. 7] designed by him and w
by janey with which to drape the walls ot their bedroom j
House. The daisy pattern is stitched on rough blue serge.,
later Morris recalled setting up house in 1S60. "what a roar
there used to be ior anvthing tolerable in the wav ot hangm
instance, and what shouts ot iov it we had the luck to dig up
cheapish commonplace manufacture, which, being oust
range of tancv gooes, had escapca the general influence •
vacuity ot the rimes. On the whole. I remember that we!
tall back upon rurkev-red cotton and dark blue serge". He
is the embroidered wall hanging worked bv Morris himself
iS>~ (No. Sv and described bv Mackail as having "greas
with gailv-coloured birds among them, and a running sen
blazoned with his motto in English '"Ii I can ". Recen
rs to have beenr
"v No. y is p.
0 have been de
more than pre
It was begun and fir
gra
ners ot Morris believe all these hangi
destroyed. The 'Cabbage and Vine* rare
better
and woven entire:'.- :v Morris. ar.d arrer :
arv experiments :n rugb-warp v.eavin
in :>-y in working hour-.
The Morris Company is represented by printed ckr
rooms, bv the uoub.e-v. oven woo. rabrics 'Peacock andDr
and Bird*, bv Ha::::r.ers:r.::h and Merton earners and by
arc-production furniture. More individual are the tafak
:: . cupboard anc candlesticks designed bv Philip Webl
rkab'.e. the cha:r and looking-glasses most
he chatr ..
designed bv Rossetri. Extremelv rare survivals, such]
vnrb.uv jmvjHiirf. are the suites n* .ir^n.i»iiit«i
rorKacav anrearan
Here then at Kel
:aunt
peace . xs
the busv places, mav be seen some ot the things whi
rime and season had a profound effect upon the devel
taste. But the continuing aim ot the Society ot Anti
present owner, is to maintain the house as a homt^n
museum, so that a setting of informality may stinraM
imagination to people it still with the creative men wbfl
there, amid their works.
That Kelmscott is now rehabilitated and a sate p.acc
treasures is due to the altruism ot the Society", tor the o
it cannot be expected to produce an economic return,
tec* and builders who rescued the house between 1964
were Peter Locke of Donald Insall and Associates an
Pother <\ Sons Ltd. of Burford. Meanwhile Messrs]
Cowlev iS. Co. Ltd. of Oxford stored the contents
pleted the extensive repairs and treatment against
•
fabrics were entrusted to Messrs. Charles Geddes Lt
-
P. «\ D. Colnaghi &. Co. Ltd. of London attended to fl
ings and prints. Some of the Morris wallpapers and oH
necessarilv to be replaced with modern printings obtaH
Messrs. Arthur Sanderson &. Sons ot London. FortunB
M
Kelmscott is open to the public on six adverted daj
- t
l Flemish cabinet
inted by Van Dyck's
list master
ANDREW GRAHAM
Xj >RDING to family tradition, which I sec no reason to
t, the cabinet illustrated (No. 5) came from Stowe. By
f the last century it was in the possession of Dr. D. P.
aster of St. Mary Hall, Oxford, trom whom it passed
ance to his nephew, [. P. Graham ot Uppingham, and
one of the latter's sons, the writer of this article.
>inet is in three sections: the stand of painted wood; the
bJ y, consisting of hinged doors left and right, two series
aftur drawers on either side of a cupboard with a drawer
213
Mi '.i.scr. The panel of the right-hand door.
4. The Rubens prototype of No. 3.
-
i
1 lone drawer beneath; and the upper
box with
it
id, shown open in the
inches hiszh and ooi inches
r the
t t hi
bove it are tai rortoiseshi
- - ; the inside ol
- .- door ot" the i
tside ot i
t Antw erp
ter ot \
■ ■
Snvders eollaborai
-1
■
and Shepherdess) and the right-hand door (AtaJanta and h
with their prototypes bv Rubens, which are now in
Pinaeothek. at Munich. Another version ot the 'Shepr
Shepherdess was ottered tor sale in London bv |. Peyt
about thirty-five vears ago. It was describee] as "by P.P.
o~ niches bv 51 inches". It would be interesting to kno
this version now hangs.
There are manv points ot comparison between th
pictures bv Van Balen and the great originals: tor insi
Win Balen Italianate landscapes and the purely Flemi
ground in Rubens" (No. 4V It is curious to note how mui
less urgent, Van Balen has made his tour main figures, L
the treatment ot the eves and. in the case ot Meleager, of
and in general bv slight but important changes in the
As happens so often when one compares the work c
artist with that of a school-painter, one finds that the la
"punch .
I have been unable to trace a prototype tor the panel <■
door, w hich presumably represents Mars and Venus? It
most interesting it any reader knew ot a Rubens, or j
Van Dvck, ot w hich this is a version.
7-10. The drawer-panels on the left. No. 7 shows Hercules, Nessus and
Dt itiiiir.i ; No. 10, Perseus tind Andromeda. What scenes do Nos. K and <;
represent ?
Ol ilu' eight si encs painted on the side-drawers, I have been
able to identify only three: No. 7, Hercules shooting Nessus
carrying Deianira across the river tvenus; No. 10, Perseus and
Andromeda; No. 1 5, Pan and Syrinx. I should be most grateful
to any reader who would send me identifications ol the other
live.
I lie large oblong panel .11 the top shows Vertumnus, presiding
tt\ ol Spring and ( )r< hards, in the guise ol .111 old woman, pre-
vailing upon Pomona. As may be seen, the background to this
curious courtship is .1 Flemish house and garden ol particular
( h.n 111.
11-14. No. 13 shows V'ii/1 iind Syrinx. What arc the subjects of No I
and 14 ?
I
I have h it to the List No. 6 (Atalanta and I lippoincnes)jl
having known .ill these pictures since my infancy, I cons
be b\ far the best ol the panels.
(M the three larger paintings it ma\ be said that they a1
competent and even satisfying, until one sets the contra
Rubens. I he eight side-drawers and the < upboard panel .1
tulilv painted classical si cues and il the figures tend
pedestrian the lands* apes are full ol intru st 1 > 1 1 1 this lutl> j
also illustrated, actual size, in colour, is something .1 goi I
better. It is .1 tin) pu turc, j 11st over << in< lies long, but sni p. I
good in its gra< e, movement and spontaneity.
216
lie journey of the Bernini
►list of Charles I to England
V. GHTBOWN
BiTURAL consequence of the spread of the Renaissance
in northern lands .it the end of the fifteenth century was
It| gradually gained predominance in the international art
fad Particularly was this the case with sculpture; for only
• qild supply in quantity the classical statues, bronzes and
lallvhich the revival of antiquity had caused to be valued
/ell other works of art. For centuries, too, sculptors who
slian by birth or who made Italy their home enjoyed far
oei rcstige in Western Europe than their local rivals, since it
t| common sentiment that they alone were properly
njL'd with the canons of antique monumental and decor-
3ijjilpf.ire. With each successive forward movement of
ais ice taste u c hnd patrons importing classical sculpture -
ini, copies or c . i - 1 from Italy, together with some con-
ptil'y Italian sculpture. That taste did not affect English
xrfl^ until the beginning of the seventeenth century, but
huge purchases of Arundel and Charles I more than
for the time-lag. Those who have read of what I Icnry
called the 'whole army of old forraine Empcrours,
s and Senators' which they brought into England may
Midcred how these cumbrous marbles survived the
as roads, innumerable customs barriers and hazardous
venteenth-ccntury Europe. Indeed, even if we consider
expense and labour of transport, we can understand win-
said of sculpture that 'the possession of such rarities, by
their dead costlinesse, doth properly belong to Princes,
to princely minds'.1
y picture of the difficulties that w ere encountered even
•nvcyance from Rome to England of Bernini's bust of
I, which travelled under Papal recommendation and
xxial escort, emerges from unpublished documents in
:an. Commissioned in 1635-6, and e xecuted after the
•iple portrait of Charles painted by Van Dyck forthe pur-
No. 1), this celebrated bust, now lost or destroyed (Nos.
as placed on exhibition early in April, 1637, prior to its
from Rome to the English court.
were then two principal routes by which works of art
t from Italy to England: the sea-route, usually from
where English ships frequently traded and English
*.s were settled, and the land-route through France. It
■ lought that the first was by far the less dangerous, and it
ct by far the more frequently used. Yet shipment had
i. On 2nd September, 1636, Lord Arundel wrote to the
lliam Petty, then collecting works of art for him 111
vrote yu word long since that I hearde from my sonnc
rs, how well the Neapolitan collection was arriued, &
1 it prouued in his judgemcnte; as allsoc what a greatc
escaped in the shippe, diverse Cases of silke that lay close
nge wholly spoyled wth oyl that ranne upon them &
I desired yu to hauc a principall care, if yu chardge ye
anythinge else by sea, to be sure that no oyles shall be
chardged in that shippe; for oyle 111 white marble is neuer to be-
gotten out, as or Statuaes in Arundell I louse Garden shewc.'*
Small wonder that Cardinal Francesco Barberini (Nos. 4 & 6),
nephew of the reigning Pope Urban VIII, Cardinal Secretary of
State, and Protector ot England and Scotland, considered the
route through France safer, as less liable to such mishaps. It was
Barberini who had obtained permission for Bernini, the Pope's
official sculptor, to carve a bust of the heretic King, and he also
took upon himself the responsibility and expense of sending the
bust to England, where the Papal Agent to the Queen, George
Con (d. 1640), a Scotsman who had been his secretary, was to
conduct it into her presence.3 So anxious was Barberini that the
charge and credit of its transport should be his that on 27th April,
1637, he wrote to Con: 'On no account should an opportunity
be given for Her Majesty to exercise her supreme liberality or her
bounty towards any who bring it.'1
Those who were to bring it had by that date already been
chosen. 1 hey were Thomas Chambers, a Scotsman of the suite of
Sir William Hamilton, Henrietta Maria's Agent in Pome, who
w.is anxious to return to Sc< >tlaml, and I5< mifazio ( )livieri, one of
Bernini's studio assistants. The long and detailed instructions
which Barberini drew up for Chambers till survive. Chambers
I. The triple portrait by Van Dyck painted for JJernini. At Windsor Castle.
R produced by gracious permission of lit r Majesty the Queen.
2!7
was to supervise the packing ot the bust so that he might be able
to supervise its unpacking in London and testify that it had left
Rome m perfect condition, .should any mishap befall it on the
way, 'from which God preserve you .
The route to be followed was laid down in detail, and agents
and friends of Barberini were named with whom Chambers was
to make contact at every important stage along it in order to
obtain money, help and passports. Especial care was to be taken in
Stowing the case containing the bust whenever they took ship or
boat; nothing was to be placed on, beside or below it, and some-
one was preferably to sleep on or beside it. The passage from
Genoa to Marseilles was to be by sea. but since the Gulf ot Lyons
then swarmed with Mahometan corsairs, the felucca was to put
into shore every night, and not to set sail again before dawn.
Moreover it was always to hug the coast, and before rounding a
point it was to send forward a boat to spy out whether pirates
were lurking on the other side. There hail been fighting between
the French and the Spanish around the He Ste. Marguerite and the
He St. Honorat in the Gulf Should there still be any signs ot
combat they w ere to let down a boat and give the French a pass-
port provided by the French ambassador in Rome and the
Spaniards a passport from his Spanish counterpart. No one, for
any reason whatsoever, was to be allowed to open the case — an
instruction directed against the customs officers then stationed on
French provincial frontiers as well as on international borders.
An account ot all expenses and receipts was to be rendered to
2. Nicholas Claude 1 al>ri ilr Pcircsc. Portrait attributed to Louis Finson.
Music I'. Arbaud, Aix-cn-Provcnte.
Con on arrival and should therefore be kept daily in a little bool
It Chambers tell sick, the bust was to stay with him until \
recovered unless the illness seemed likely to be a longone,i|
w hich case he was to send to the nearest person for whom he ha i
letters ot recommendation. That person w ould then appoint
confidential servant to take charge ot it.
From Barbcrini's letter to Con of 27th April, 1637, welcar
that the bust had ahead)- been sent oft to Civitavecchia, whence
w as to be conveyed to Genoa on a Papal galley. We can follow
on all the subsequent stages ot its journey to England from letteii
written to Barberini on the way by Chambers and Bonifaziil
Olivieri. The first letter was from Chambers, who wrote froi*
Genoa on 12th May. The journey so tar had been uneventful.
In Genoa they had hired two feluccas tor the voyage to Ma:
seilles, and "had bought ropes, nails, axes and other tools the
would need on their journey. Unfortunately the passport issu.
by the French ambassador had turned out to be useless, since
made no mention ot the case containing the bust; but tin i
Resident ot France in Genoa had proved very helpful. Theywerj *
to set oft that morning, as the weather was tine and the win1 f
favourable, which last had not been so until now. Chambers at
Bonifazio reached Marseilles on 1 6th Mav after a safe voyage ,
and that same evening Chambers went up the Rhone to Aix :
meet the celebrated savant Claude de Peiresc (No. 2), to who:
the Cardinal had entrusted the task ot seeing the bust satei
through Provence. After some discussion Peiresc and Charak:
B A R B E R I N AE. 71
ajccxtcnsomnibm fubinnior.iurefuo pnn-
1 vcndicat , tjuar , vt Ph ilofoph us in<]u it , V tr-
Lmnium prarftiritiffima til . nec Hcfpcrus, net
ranta homines adinirationcafticit.Hax lynceis
I tia,virtii:^q,difccrnit,4t,iufta lanccbonis pra:-
Dorobis ptrnas rcpendit. Hum1; plenum roboris
I ommam Cardinally ciufucm conftantiamoften-
idus, fynceras lllius animi aficflionei , atque
in tot Lcgationibus obeundts cclcritatem ■ ■
4. Cardinal Francesco Barberini. Engraving on
pafje 71 of Girolamo Tczio, Attics Barberittae,
Rome, 1642. The bees on the wreath are from
the Barberini coat of arms.
5. Engraving attributed to Van Dcr Voersi of
the lost bust of Charles 1 by Bernini. Reproduced
by permission of the Trustees of the British Museum.
J at it would be better to avoid unloading the case, and so
oi determined to make a new bargain with one ot the
s > carry them up the river to Avignon, Pciresc offered
:>< both money and hospitality to help them on their way,
18 bers refused both as unnecessary. However, he soon
rn to Peiresc's agents in Marseilles for help. On Ins
Marseilles he found that during his absence some
• Malta had forced the sailors of the felucca into pro-
carry them to Genoa. He immediately sent Peiresc's
varn the Knights that they would have to reckon with
1 rancesco Barberini it they persisted in their resolution.
1: fortunately persuaded them to desist, l'eiresc also pro-
pi with passports with which to ward off the prying
jl f customs officers, and he used his influence to obtain
sports tor them from the Lieutenant ot" Marseilles. I he
d) spend longer in Marseilles than they had planned 111
uy new clothes tor Bonifazio. The latter had worn
stume until then so as to avoid difficulties in case of
>m a Spanish ship. Chambers commends Bonifazio's
patience in wearing this alien dress, and by Boni-
1 account he had spent day and night beside the case
is on board the felucca.
2 1 May the two reached Aries, w here they made an
his bargain with another boat to take them up the
olvignon, at that time an outpost of the Papal States,
dl. later they arrived in safety — the customs officers on
rq having been thwarted by special orders sent down
flfcion — and soon found a boat to take them on to
I i new boat carried no other goods or passengers, so
101 ht that all they had to fear was the great heat on the
U« irtunately the wind was against them all the way and
aJid to be rowed upstream, so that they did not reach
ml 2nd June.
yf ; they set about hiring mules to carry the case ov the
1111 .is district between Lyons and Roanne on the f oirc
tnjaist was to be embarked on a boat once more. At first
r would hire them his team because of the immense
he case; and when at last they found one who was
willing he insisted that the case be weighed as a preliminary
before he would name his price. Bonifazio therefore weighed it
on the boat with the help of the boatmen and found it to weigh
675 pounds. The muleteer then agreed to hire them four mules at
the vast price of 40 scudi (about 10 in English money of the
period). The very next day however he went back on his bargain
and would give them only two mules for the same price; an
arrangement they were obliged to accept because no one else
owned mules strong enough to carry the case. In addition they
had to hire men who would help them to cross the difficult
mountain ot Tarare, tor years to come the banc ot travellers.
I low ever, they accomplished the journey to Roanne without
incident and continued down to the Loire to Orleans. Here
Chambers left Bonifazio and the bust and went on to Paris to see
the Papal Nuncio, who assigned a gentleman to return with him
to Orleans, gave him letters to merchants ot the city, and, since
the road between Paris and Orleans was infested by robbers,
obtained a royal passport ordering an escort ot soldiers to be
given to Chambers at all places where he should require one.
Things were not made so easy by this passport as Chambers had
hoped. The royal officials along his route interpreted it to mean
that Chambers was to be supplied with a guard at Ins own
expense, and so he had to pay for the archers tin roi who con-
voyed him through the most dangerous districts. All the people-
on the road were most dangerously inquisitive; and although
Chambers told them with the inmost frankness that he was taking
a piece ot marble to the court, everyone believed that he was
really in charge of money sent to the King by the Pope. Con-
sequently Bonifazio had to stand guard fully dressed by the case
every night. Bonifazio himself describes the road in terms of
awed alarm. On one stage of it, he claimed, "people are assassin-
ated every day, whole carriage-fuls of travellers'. Even so they
reached Paris safe and sound on 22nd June, and deposited the
case at the house of the Nuncio. Bonifazio was overjoyed that the
rest of the journey was to be made by water: 'every time I see the
case on mule-back I feci very unhappy'. It appears that the poor
y< 'uig man had stood on perpetual guard at Orleans during the
absence of Chambers and had had no sleep whatever; he hoped
that the Nuncio would advance him enough money to return by
sea, so that he would not have to come hack through France
'where they assassinate people publicly'.
We hear of the arrival of the bust in Paris from another and
more sinister source. In 164s the Puritan William Prynnc, w ho
had been charged by the 1 louse of Commons with the task of
exposing the iniquities of Archbishop Laud, brought out as the
second instalment of his indictment Hidden Workes of Darkenes
Brought to Publikc Light . . . Discovering to the World the seuerall
secret dangerous Plots, Practises, Proceedings of the Pope and his Con-
federates .../<> undermine the Protestant Religion, usher the whole
Body of Popery into our Church, and reduce all onr REALMS to the
ancient I 'assalage to the sea (sic) oj Home. Prynne had been given
access to the confiscated papers of Secretary Windebanke, and
found amongst them evidence ot a dangerous familiarity be-
tween Windebankc's son Thomas and Francesco Barberini.
Furthermore, he detected that 'in |unc (1637) following this
Cardinal! sent a statue from Rome . . . for this Secretarie or some
greater person's use, of which the Lord Scudamoore then Legcr
Embassador at Paris gave him this advertiscmant in a Letter
written with his ownc I land, (endorsed w ith WindebanWs when
received.) "Right Honourable here is come to Paris one Mr.
Chambers with the statue from Cardinall Barberine, another, the
servant ot him that made the Statue comming along in company
to take it forth, but no where upon any termes till it be in
6. Portrait of Cardinal I rancosco Barberini by (iiuli.ino I inclli. Tin 'Toledo
Museum <>/ Art. Gift oj Edward Drummond Libbey.
England: upon Munday next, Mr. Chambers purposeth tos U
ward for Deep."' The letter is dated Paris.v.v.vjune l6(o.s. i 1
On the next page Prynne refers darkly to Con, and says |$
his arivall in England . . . he was entertained and setlcd at \m
by the Popes and Cardinall Barberinoes mediation, as a b ,j
that so he might the more easily and safely worke both uplttj
King and Kingdome. Where first he sets upon the chiefe ?,\A
Court, leaving nothing unattcmpted to corrupt and inclin
all to the Roman party; he attempted ... to seduce tin
himself with Pictures, Antiquities, Images c\ other \|t(
brought from Rome'. 1 These words are quoted as they sin
clearly why Charles's innocent passion for works of art led ?.
surely as his other courses to disaster.
In Pads' the Nuncio arranged for the case to be sealed
superintendent of the customs so that it would not be 1 a
either at Rouen or Le Havre and obtained a passport fr<
King. Chambers was warned not to hire a boat to car |o
themselves and the c ase, as this would attract too much att
and so he determined that they would travel by a boat con ut
merchandise for Rouen. This decision proved to be an 1
one; the water in the Seine was low and the boat was ewer :.
so that the journey took them eight days in all.
At Rouen they hired a boat big enough to accoimi
themselves and the ease, but not so big that it was likely 1
fast in the river. Even so it was not until 2 1st 1 11 1 y that Ch
announced their safe arrival at Le Havre 'against all the ele'ai
They found only one English vessel lying 111 the po k
fortunatel) it had room for both them and the case. The
an agreement with its captain to carry them to Dover or!):
landing-place on the Thames. Originally Chambers 1 i
tended to land at Rye, but he had decided against the rikti
long land journey to London with the case 'which up tlw
will have suffered nothing, though it were of Venetian g.
Nine days later a last triumphant letter from Cham
ports: T shall say nothing more pist now save that on Sui
26th of this month (|ulv) we loaded our case on to a go
and on the follow ing day arrived at Oatlands where wi
open the case that very night, so great w as the eagernes
King and Queen. I cannot write sufficiently of the
tentmcnt of the King and Queen and of the astonishml
whole court and 111 particular of the superintendent
statues, w ho exclaimed with an oath as the first plank of
w as raised that the bust is a miracle. On Monday I rcturJ
court to take leave of Signor Giorgio (Con) and then Is.
eeed immediately on my duty to Scotland, where 1 shall 1
pray to God for Your Eminence to whom I offer my
reverence.' 1 luce months later Chambers died in Londoif
fazio, on the other hand, after receiving a bounty of £2
the Queen, about which he w orried greatly as strictly cor
the Cardinal's wishes, got back to Rome in safety by
ginning of 1 )cc ember. 6
NO! I S
1 Peacham, Compleat Gentleman, Oxford, 190G, reprint ol 1634 edition,
* F. ( . Springi'll, Coiiitoi^an I Diplomat, I oiulon, I ';'>.!, p. J.|S.
3 F01 tin- relations between the Papal ( ourl and Charles see the 1
reliable ( '• Albion, ( '.luules 1 .»/</ the ( louri oj Rome, I ondon, 1935.
1 Vatican I ibrary, Barberini sr >.ji >, f n< 1 .
Prynne, on. cii (sometimes bound up with his Canterburies Doome, 1641
1645, pp 146-7.
0 I Ik documents um .I in this article are in part cited, or noted, by Alb:
PP- 397-9) and R Wittkower [Gian I on us o lieniini, London, 1 v55»
No. 39). rhe ( ardinal's instructions to Chambers and the letters of Chs
( >bvieri are .ill 111 the Vatican 1 ibrary, Barberini 8625 (cvii. 12). The le
follows: 1 banibers to Barberini, Genoa, 12 May 1637; Marseilles, 19
Aries 2.1, M.iy if>!7 (actually to Peircsc, forwarded by him to Koine);
2(> M.iy 1637; I yons, 4 June ii'>.i7; Paris, 23 June, i'>.i7; Paris, 30
Rouen, 9 July, 1637; Le Havre, 21 July, ic>.i7; London, 30 July 1637.
Olivieri to Barberini, Marseilles, 19 May. 1 f >.i 7 ; Lyons, 4 June, 1637
|unc, [637; Pans, 30 June 1637; Rouen, 9 July 1637, London, 6 Octobc
fhomas Harris, Gainsborough
upont and the Theatrical
allery at Belmont
JOHN HAYES
7 ". iEN P. G. Patmorc wrote Ins scries of articles on pro-
V nincnt British collections in [824, a scries afterwards
1 between hard covers, 1 he included among such august
y as the Marquess of Stafford, the Earl of Egrcmont and
ius Angerstein the theatrical gallery of Charles Mathews
igate Hill. And certainly, apart from 'being quite unique
111 its kind' - at that date, this was a most notable collection, com-
prising almost four hundred pictures when it was exhibited at the
Queen's Bazaar in Oxford Street, London, in [833. 3 What has
not been recognised, however, though Mr. C. K. Adams drew
attention to the existence of this earlier theatrical collection in his
admirable catalogue of the pictures in the Garrick Club, is that
or it of Thomas Harris (died 1820), by John Opie. Canvas, 50 40
lestlark Longman Esq., London.
2. Portrait of Giovanna Baccelli (died 1K01), by Gainsborough Dnpont.
About 1795. Canvas, 25 30 inches. By gracious permission of Her
Majesty Queen Elizabeth II.
?. Portrait ot |oseph (icors;c Hoi man ( 1 764-1817), as Edgar in King Lear by
Gainsborough Dupont. 1793-4. Canvas, 25 30 inches. The Ciarrick Club,
1 .ondon .
Mathews was following closely in the footsteps of Thomas
I larris, the tormet proprietor of C !ovent ( lardcn 1 hcatre. 1 larris s
collection, though admittedly much smaller only about seventy
pictures in .ill (so far .is we know)1 was 'uniciuc in its kind
twent\ or thirty years earlier, and similarly displayed m .1 fallen
built specially tor the purpose in the grounds ot Ins house near
1 ondon; .i fair proportion ot the collection found us wax into
Mathews hands at its dispersal in 1 819, and thus eventual!) to the
( iarrick ( !lub.
I homas I larris (No. 1) is perhaps not the best known of Covent
Ciardcn s line of proprietors, but Ins reign was a long one, since
he presided actively over the affairs of the theatre for forty-one
years.' lie became its principal patentee 111 1 yd", soon alter the
death of kit h, and after some stormy years \\ ith his co-proprietor
Colman, assumed complete managerial control in 1771. I le was
something ot a martinet as stage manager, and among numerous
disciplinary measures were lines imposed for non-attendance at
rehearsal, or for refusing a pari increases in the latter were to
result 111 a cause cclchrc involving eight ol Ins leading performers
in 1799-1X00; he was also inclined to interfere unduly with
his authors and composers, though well known to have little
musical knowledge. Hut he was a man of enormous energy and
industry, who 'stood successfully against the greatest variety ot
talent ever seen c ombincd into one dramatic 1 ompany', that is to
say, the Siddons-Kcmblc-Shcridan combination at Drury I ane;
absolutely scrupulous 111 all his dealings, generous to his actors.
4. Portrait of Arthur Atherley (died 1S44), by Sir Thomas Lawrence.
Canvas, 49' 39 inches. Exhibited at the Royal Academy in 1792. The
Count) Museum, 1 os Angeles.
charming and gracious to everyone. It w as his distinction to have
presented the lu st performance of The Rivals; and among other
camps he produced a version ot Beaumarchais s The Marriage oj
i'ioaro shortly after its premiere, the text ot which was memorised
in Paris Iw one ot his ac tors (the manuscript being jealously
guarded); won Kemble over as stage manager (in 1802), and se-
cured the services ot the meat clown. (Inm.ildi. I lis lew e of his
theatre was unbounded, lie employed the finest craftsmen and
technicians, and money was constantly being set aisdc tor im-
provements, both mechanical and decorative. Soon after the
disastrous fire ot 1S0S, however, having seen the new theatre rise,
he more or less retired from active lite, on the grounds of ill-
health, and spent his remaining years at his delightful early-
eighteenth century mansion 011 the edge of Uxbridge Common.
Belmont.
I larris had e arned out extensive improvements to the grounds
at Belmont,' and among these- was the gallery, of which there is .1
brie) contemporary description. A 'mimic-hermitage . . . opens to
an apartme nt ol handsome proportions, hung throughout with
Pictures w hic h the admirers of the Histrionic art cannot fail to
hold in very prec ious esteem. I lerc is preserved a large and valu-
able collection ot original portraits of the principal theatrical
performers, from the date of Garrick ... to the present period . . •
In addition to this interesting series ol Portraits there are, in CDC
same garden-saloon. Pictures representing Melpomene and! hali.i.
and two line Paintings by Northcotc, from scenes in the Tragedy
of Richard HI'.' Most of these pictures were no doubt purchased
as the opportunity arose, and not all were of the first quality as
paintings. Some of the attributions are no longer acceptable — the
Knellers being a case in point8 — but among obviously noteworthy
canvases were the Hayman of Garrick and Mrs. Pritchard in The
Suspicions Husband, and the Roberts of the original Drury Lane
:ast of 1777 in The School for Scandal. The Northcotes are not now
; dentihable9, but the Melpomene was evidently the full-length of
iBliza O'Neill as The Tragic Muse by G. F.Joseph exhibited at the
i Academy of 181 5 which later hung in the centre of Mathew's
Kallery, 'occupying and deserving the place of honour'.1" Some
fof the pictures were specially commissioned, to provide a record
of the actors, actresses and other performers who had appeared
tinder his own management, and the de Wildes and Singletons
I nay have been ordered in this way, though there is no evidence
|>n the point. The artist he principally employed for this purpose,
liowever, was Gainsborough Dupont, and the documentation of
She Duponts happens to be unusually full (and unpublished).
Farington, ever well-informed, relates the circumstances of the
lommission, which confirm what we known of 1 larris's genero-
c ty and good nature. The entry occurs in his diary for 21st April
I795' 'Mr. Harris of Covcnt ( larden Theatre considering Dupont
lis wanting employ commissioned him to paint portraits of the
> .ctors of that Theatre and only to proceed with the commission
I dien He had no others.'" This evidently took place in 1793 or
irly in 1794, as The Morning hlerald noted in March of the latter
ear that 'GAINSBOROUGH DUPONT is busily employed on
: set of Theatrical Portraits from Covcnt-Garden Theatre, to form
Dramatic Gallery for Mr. HARRIS'. The following,' it added,
ve already on the animating canvas of this ingenious Artist":
;wis as Mercutio, Pope as Hamlet, Holman as Edgar, Middlcton
as Young Norral, Quick as Spado, Johnstone as Doriniond, Fawcett
as Comte Friponi, Munden as Polonius and Incledon as Macheath;
Mrs. Pope as Queen Elizabeth, Mrs. Mattocks as Catharine and
Miss Poole as Miss Somerville. 'Mrs. MARTYR, Mrs. FAW-
CETT, and Mrs. ESTEN, are to be added to the number; but the
last-mentioned Lady, for a more striking effect, will, it is thought,
PAINT HERSELF.'12 The portrait of Quick was shown at that
year's Academy, and The Oracle noted that 'DUPONT the Artist,
so theatrically taken up by Mr. HARRIS, exhibits his QUICK,
and for identity, character, and what should be in a picture, there
is little beyond it.'13 Next year, The Morning Herald reported the
completion of Dupont's enormous group portrait for Trinity
House, together with full-lengths of the King and Queen, and
continued: 'As some relief from these dignified subjects, this
artist has proceeded in augmenting Mr. HARRIS'S Dramatic
Collection by the addition of the following performers; viz. Miss
WALLIS, Mrs. CLENDINING and Mr. FARREN.'" The
picture of Miss Wallis (later Mrs. Campbell), and the portrait of
Lewis done the previous year, were both sent to the Academy of
1 795-
A number of portraits not listed by The Morning Herald, which
may either have been executed subsequent to April 1795, or else
were not part of the commissioned series, are also known. These
consist of How den as Robin Hood, Murray as Baron Wildenheini
(catalogued in the Harris sale as by Singleton), Tenducci, the
Italian singer, who appeared in the first performance of Dr.
Arne's Artaxcr.xes at Covent Garden in 1762, and Fischer, the
obocist (the last two both in the Harris sale as by Gainsborough);
Mrs. |ordan as a gleaner, Mrs. Mountain as Peggy (in the Harris
sale as Dupont), and Mme Baccelli, the dancer (No. 2), who
appeared at the King's Theatre, Haymarkct, and was probably
6. Portrait of Johann Christian Bach (1735-82), by Thomas Gainsborough.
1776. C.invas, 29] 24! inches. Lord Hillingdon, Kelvedon.
not therefore painted for Harris. The Murray as Baron Wildcn-
hcim in The Lover's I 'ows is a puzzle; though in the I larris sale as
by Singleton, it was catalogued by Mathews as Dupont, which
would appear correct: the play, however, was not produced until
October 1 7S9, when Dupont had been dead nearly two years;
either Singleton, who did two other portraits for Harris, worked
very closely in I )upont's manner (and his style certainly could be
similar), or else the part was mistaken from the beginning. All
these portraits are in the Garrick Club15 exept the Baccelli, which
is in the Royal Collection,1* and the Fischer and Mrs. Mountain,
both missing. This group brings the total number of I )uponts or
suspected Duponts up to twenty-five. Now, of these twenty-five
pictures, only seventeen appeared in the I larris sale, and it might
well be concluded that the remainder he commissioned hung
originally at Covcnt Garden itself rather than at Belmont and
were constantly destroyed in the fire of 1X0X, were it not for
the fact that one mentioned m The Morning Herald and not in the
sale does survive, namely, the Varren. This raises the question of
whether it was the entire collection that was dispersed in 1819;
it remains a mystery, too, why I larris decided to sell anyway —
for the sale was not held after his death, but during his lifetime.
The number of portraits actually surviving is fifteen, twelve in
the Ciarrick Club, one 111 the Royal Collection, one in Lord
Glenconner's collection, and one in the Norton Gallery in West
Palm Beach. I lie last-named picture entered the Gallery as Mrs.
Baddelcy in the role of Imogen, "but Mrs. Baddelcy died in 1 786;
a portrait of Miss Wallis as Imogen, in which character she made
her In st appearance at Covcnt Garden in 1794, w as, however, at
the Academy of 1 795 1 "and later in the I larris sale, and comparison
7. PortraiJ of John Quick (1748-1831), as Spado in The Castle of Andalusia
by Gainsborough Dupont. Exhibited at The Royal Academy in 1794.
( lanvas, 25 X 30 inches. The Ciarrick Club, London.
with documented portraits of this actress'" leaves little doubt th
she is in fact the sitter.
Gainsborough Dupont, Gainsborough's nephew and stud!
assistant, who was working principally as an engraver of ll
uncle's portraits at the time of the latter' s death, began to sj
himself up as a portrait painter about a year or so afterwards, ai
seems to have won a measure of acclaim. Bate Dudley declarii
in a purl of 1790 'that he cannot fail with his genius, acquiring]
decided superiority over the Painters of the present hour'20 and 71
London Chronicle in the same year that he had 'caught up tl
mantle of the departed Gainsborough'.21 But he failed to sccu|
election to an A'ssociateship of the Academy (he tried three timcj
and the evidence is conflicting as to whether he really establish!
much of a practice. I lis style never developed, except in fluency;;
handling, and a newspaper critic described two of his Acadenj
exhibits in 1794 (not the Quick) as 'feeble attempts to imitate ll
late uncle Mr. Gainsborough — whom he should forget in ordl
to acquire a manner of his own'.22 Dupont died early in T797, j
that his career independent of Gainsborough in fact lasted la
than a decade.
Verv few of Dupont s portraits can be documented, and mq
of them have customarily passed, at least until recent years, as tj
work of his uncle; so that the publication of the Harris series \\j
provide useful points of comparison for his portraiture general!
and complement the account of the Trinity House group po:
rait,23 upon which he was working at the same date, but in
broader and more official style.
So far as is known, no drawings survive for any of the Har
portraits (there are numerous ske tches for the poses in the Trin:
S. Portrait of Elizabeth Pope (l744?-97), as Queen Katharine in Henry VI
by Gainsborough Dupont. 1793-4. Canvas, 25 30 inches. The Garr
Club, London.
rtrait o.< Isabella Mattocks (1746-1X26), as Louisa in The Duenna by Gainsborougl Dupont. 1793-4. Canvas, 25 30 inches. The Garrick Club, I oiulo
225
I louse picture and the figures in his landscapes), and, following
Gainsborough s practice, 1 )upont probably worked out these
comparatively simple designs on the canvas itself. But there is a
fascinating account of the artist .it work 111 the Recollections of one
of Harris's dramatists, John O'KcefFe, who visited the studio
when 1 lohnan was sitting. 'On the door of the back drawing-
room opening', he w rote, 'I was surprised, and a little shocked, to
see the room darkened, (day-light shut out), and lighted by a
large lamp hanging from the centre of the ceiling: there stood .1
man half naked, a ghastly figure, with a blanket round him, star-
ing wildly, holding a pole in his stretched-out hand. I Ins w as
Holman, in the character of Edgar, mad Tom; Gainsborough
Dupont painting him. I heard it was the custom of the latter to
paint much by lamp-light'81 (No. 3). It was the moment 111 King
Lear when Edgar saved Cordelia and her companion from cap-
ture: 'What cry was that? — Ha! women sciz'd by ruffians! Is
this .1 time and place for villain)? A vaunt, ye bloodhounds!'
In spue of his elaborate studio reconstruction, however, Du-
pont did not fully succeed in bringing this scene to life. Edgar's
fury is certainly well conveyed in th.it w ild and purposeful expres-
sion and those hands that really grip the quarterstaff, and this
effect is enhanced by the lighting and the bravura in painting the
sleeve and particularly the hair. But, as in so much of Dupont's
w ork, the final impression is one of immobility — thefeatures seem
fro/en, and the spectator is unconvinced that action will really
follow. The handling of this painting is quite unlike Gains-
borough's, and 111 every respect, but especially in the tenseness of
expression, the comparison is rather w ith I awrence s romantic
portraiture of the 1 790's (No. 4), which Dupont must clearly
have admired and sought to emulate.
I he other portraits ,ue less contemporary in treatment, and, as
one has been led to expect from the Press notices, faithfully
reflect Gainsborough's later style, in particular his very fluent
technique, the quickly touched-in highlights and characteristic
dark brush strokes enriching the shadows of the flesh. The
William I'arren in an unidentified part (No. 5) shows Dupont s
impressionistic Gainsboroughesque handling at its best, but even
at its best it !acks the brilliance and assurance of Gainsborough
himself (compare No. 6). I hipont s unfortunate deficiencies in
draughtsmanship are seen in the over-precise delineation of the
nose and hps, and the slurring of the bone structure 111 the hand,
though, to be fair, one must add that Gainsborough could be
guilty ot this latter fault, too. I he liveliest and most successful of
the male portraits is the John Quick 111 the role ot Spado in
O'Kccflfc's '.omit opera. The Castle 0) Andalusia (No. 7); the
placing of the whiles in the pupils of the eyes is unusually felicit-
ous lor I hipont, and the spry pertness of Quick's acting, 'w ith his
squeak like a Uart'lcmcw fiddle', is admirably suggested.'' The
scene chosen is from Ac 1 }, when Spado, the- most cowardly and
impish of a gang of bandits, is left outside the castle: 'I see how
this is', In- grumbles, ' our c aptain's to can s of! the lady, and
my brethren all the booty, what's lefl lor me then? . . . let's see,
I've- my tools here still', and he takes out his pistols and proceeds
io hold up Pcdrillo, Don Fcrnando's equally cowardly servant,
who has made an appearance at the critic al moment.
Holman, Farren and Quick were three ol Harris's leading
performers. I (olman had made his de but as Romeo in 1784, and
w as noted as possessing a very elegant figure, and a voice whi< h
is powerful without effort'; he appears, however, to have been
die prime mover in the dispute with the management over the
mi 1 eased 1 1 nes and c liarges (or be net its in 1 800, and left soon after-
wards, ending his stage c areer 111 Anierie a, Farren made his debut
at ( !ovcnt ( iarde n in the same season as I lohnan, in the part ol
Othello, and was a linn favourite with the audience' until Ills
death in 1795. Quick was George Ill's favourite comedian,
original Bob Acres in The Rivals and Tony Lumpkin in
.s><>(>/» /,) Conquer; starting his career at Covent Garden in 1
he remained there until 1 798, when he left after a disagrccrrt
with Harris.
Of the actresses painted by Dupont, the older generatic
best represented by Mrs. Pope and Mrs. Mattocks, and
younger by Mrs. Jordan and Mrs. Campbell. Mrs. Pope
originally apprenticed to a milliner, but had the good fortun
be taken up by Garrick sufficiently early. Appearing at Co
C larden 111 1 77c; on an exchange from I )rury Lane, she stayed
the Company until her death in 1797. She was reckoned to he
wider emotional range than any of her contemporaries,
according to Gencst, 'would have been for the rest of her life he
best actress in Tragedy, if Mrs. Siddons had not appeared'. Etc
she is shown, not as Queen Elizabeth, as stated by The Moiny
Herald (sec above), but as Queen Katharine 111 Henry I 7//(N<'$).
kneeling before the King in supplication in the courtrooij at
Blackfriars; Dupont's likeness were always good,-'6 and thissir-
trait supports the contemporary view that 'Mrs. Pope's faceras
but latterly it became plain, rs.
is
he
'as
to
nt
th
:a
d,
said to be agreeable m 1722
a;
of
Tie
as
Mattocks was a regular performer at Covent Garden well be >re
Harris's time; she appeared first 111 child parts, played luli in
[761, and was the original Luanda 111 Love in a Village. She x-
celled 111 comedy, to which she confined herself in later lifejnd
was said to command an unusual variet) of facial expres:
attractive, good natured, and pleasing 111 voice, she was 01
1 larris's most useful performers until her retirement 111 1808.
Morning Herald w as mistaken in saying that she was paintJ
Queen Katharine — Dupont has portrayed her in Sheriija's
successful but undistinguished comic opera The Duenna (Nc )):
the scene is at the end of Act r, when Louisa, pretending sit is
Clara, tries to enlist Isaac Mendoza's help in finding her k er,
Antonio, on w hose account she has left home — Mcndoza, fu >us
that she is not in love with him, threatens to tell her father ad
1 ouisn cries, 'Is this your gallantry?' Mcndoza has a new lea
at this point, but the plot need not be pursued here.
Mrs. Jordan, depicted as a gleaner (No. 10), was one 0 he
darlings of the I ondon public, and acclaimed by I lazlitt and I gl
I hint, among others, as 'the first actress of the day'. She was est
in roles such as Viola and Rosalind, but, though tendin do
become plump 111 middle age, refused to undertake more mat >a-
•y
he
led
re-
ly parts; she retired 111 1814. The graceful Miss Wallis was,
with the company for about ten years (she retired at the end <
1796-7 season, when she' married Campbell), but was unriv
in parts w hic h called for simplicity and modesty. I lere she
presented as Imogen, the daughter ot Cymbcline, 111 the "lie
where she is shown the letter in w hich her husband Posthu us.
then in Kome, convinced ol her infidelity, has instructs his
unhappy servant Pisanio to kill he r (No. 1 1). It charactcristi/ll}
deficient in draw ing the left arm has no elbow, and neither nr.
seems to be jointed on to the body the handling is spirited' nd
the sitter is brought vividly alive, though the appropriate ex Bt
sion ol incredulity and honor is hardly hinted at. l ike lu
h'arreu, also ver\ painterly 111 execution, this is one of the 1; in
the Harris series, and the increased abandon in brush* >W
c hara( teristic ol these portraits is to be netted also in I hipont it''
landscapes,-7 in particular the picture 111 the University of i
thern California, Los Angeles, which is dominated b\ vig
undulating, rhythms.
Dupont developed the excess ol his uncle's brilliant hair n '
in mm h ol Ins portraiture, and the dramatic w as obviously s tC
to his style. In comparatively lew ol these theatrical portri
the Wright Bowden as Robin Hood is the most glaring exam
•c
1
0. Portrait of Dorothea Jordan (1762-1K16), by Gainsborough Dupont.
ibout 1795. Canvas, 25 10 inches. The Garrick Club, London.
II. Portrait of Jane Trythosa Wallis, afterwards Mrs. James Campbell
(active 1789-1814), as Imogen in Cymbeline. Exhibited at the Royal Acade-
my in 1795. Canvas, 25 30 inches. Norton Gallery, West Palm Beach,
Florida.
; there much evidence of tli.it woodenness of pose and expression
v'hieh was undoubtedly his most signal weakness, and that mars
he big Trinity House group portrait. The Covent Garden
layers brought out the best in him, and the series may justifiably
e classed as his finest work in portraiture.
As was noted earlier, many of the portraits are still missing, but
ic names of the sitters are known,28 and it is very much to be
oped that this article will prompt the dicsovcry of some th.it
lay yet be lurking (as was the case with the Miss Walhs as
mogen in the Norton Gallery) in attics or basements as pictures
idtn not quite satisfactory attributions to Gainsborough.
NOTES
Anon(= P. G Patmorc), British Galleries of Art, London, 1824.
lbhl., p. 249.
Catalogue Raisonnee of Mr. Mathews's Colliery of Theatrical Portraits, Queen's
I'azaar, Oxford Street, London, 1833.
; The contents of the collection are known only from the catalogue of 'Original
heatrical Portraits, removed from Belmont . . . The Genuine Property of T.
IARRIS, Esq. whose Judgment and Liberality has been exercised, during a long
•ries of Years, in forming this Collection', Robins, 12 July 1N10 (Lugt No. 0630).
ither Harris's direct descendant, Mr. Murray Harris, m V M irk Longman,
k owner of the Opic portrait (No. 1), has any knowledge ol further evidence
incoming the collection.
The material on Harris and his company published here is derb ed >m the
dictionary of National Biography, Genest's Some Account of the English ... e, '.' ith,
"32. and Hcnrv Saxe Wvndham's The Annals of Cooent ( harden Theatre, London.
306.
Ram most grateful to Miss E.J. Humphreys. Librarian of Hillingdon Public
ibrarics, for drawing my attention to the plan drawn up when the estate was
•' rjJctioned in 1867, and for other help over Belmont
7 London and Middlesex, Vol. 4 (by ]. Nonas Brewer), I ondon, 1816, p. s;v. I he
plan referred to in Note fi does not indicate w hi< h building housed the gallery.
' C K. Adams, A Catalogue of the Pit lines in the < Irtrr/i L- t dub, I ondon, 1936.
,J They were not acquired from HoydcH's Shakespeare Gallery.
111 Patimorc, op. tit., p. 260.
11 Page 239 in the typescript preserved in the British Museum Print Room.
12 The Morning Herald, 22 March, 1794.
,:l The ( )r<ji le, i<> May, 1794.
" The Morning Herald, 23 April, 1795.
15 I am greatly indebted to the t omniittce of the ( iarri< k I lub for allow ing me to
Study these portraits and reproduce some of them here, and to the Secretary,
Commander E. S. Sattcrthwaite, for all the kindness he showed me and the
facilities he provided for photography.
"' I am very grateful to Mr. Oliver Millar for drawing tins portrait to my attention,
and supplying me with a photograph.
IT i am very grateful to Mr. F.. R. I luntcr, 1 )irector of the Norton ( lallery, foi Ins
help with this picture, and for the photograph reproduced here.
18 It is identified in some dct ul by a contemporary reviewer: ' I he Picture before us
is a Portrait of Miss "WALLIS in the Character of Imogen. Hie point of action is
at the time she reads the letter from the misguided Posthmnus 111 which she is ac-
cused of infidelity. The likeness is exact . . .' (The Sun. 2d May i~')s).
1!' See, for example, the full-length of her as Juliet by John Graham, which w as
exhibited at the Royal Academy in 1 7< jC>.
20 The Morning Herald, 4 February, i7';o.
21 The London Chronicle, 27-9 April, 1790.
M William T. Whitley, Artists and their Friends in England 1700-1799. London, 1928,
Vol. 2. p. 1S4.
23 Sec my article in The Burlington Maoazine, |ulv, 1004, pp. 309- if>.
21 John O'Keeffc, Recollections, London. 1826, Vol. 2, pp. 326-7.
25 The Morning Herald described this canvas as 'a spe< imen ol his pow ers in a 1 \
style, on which he may be warmly congratulated. The brilliancy of the eye, id
the whole air of the counteranee, are most happily represented' (29 April, 1 79J
See The Burlington Magazine, op. fit., p. 315.
27 The Morning Herald noted that, at the time of painting the Farren and the \/'
Wallis, 'three or four beautiful picturesque Landscapes have likewise start-
nervals from his canvas, demonstrating a laudable propensity to tin
natui si subjects of imagination and fan< v' (23 April, 1795).
2S See t,. lists published in The Morning Herald, quoted above.
M. de Hauke and the
British Museum
WILLIAM GA SJT
Till sixteen drawings of the nineteenth-century French
hool v\ hich form the bequest of ( )csar Mange dc I iaukc to
tin.- British Museum arc .111 acquisition of great value from every
point of view. Individually, they are masterpieces of graphic art
and, as currently show n together 111 the Print Room, a superbly
harmonious group. I hey strengthen the collection of the I Apart-
ment of Prints and I )ra\vings in a period by no means so full \ and
richly represented as earlier centuries. I o acquire a series of draw-
ings of their quality by purchase it suc h w ere now to be found
mi the market would, at the present level of prices, entail a
large outlay. It might w ell be in the region of ^200,000.
I he circumstances throw into attractive relict the taste and
sentiment of tie 1 Iaukc himself. Horn in 1900, the son of a French
engineer and a Polish mother, he seems first to have gained an
-i
)cmii Augustc Dominique Ingres. Portrait of M. Charles Hayard and his
Haughter Marguerite. Black load 11 1 <> inches.
affection for England from schooldays spent at St. Ronan's rc-
paratory school, Worthing. By all accounts he was popular ith
both the boys and start. An interest in and desire to learn a >ut
art, w hich he appears to have derived from his mother, led hi to
study as a young man in the collections of the Print Room, 'he
enlightenment they gave and the help he received there addt to
his fondness for England in general, a gratitude to the Museu he
was later to express by the terms of his munificent bee :st.
In Paris, where he began his working career, he became absc >ed
in the contemporary developments of French art. doing t the
United States he joined the firm of art dealers, Jacques Seligi inn
c\ Co., in \<)Z(>. The exhibitions he organised of painting: ind
drawings by nineteenth-century French artists and the lening
figures of the modern School of Paris were influential in aro ing
the interest of collectors in the United States. Recognised an
authority on French art, he combined with his scholarship ind
flair a collector's enthusiasm that expanded in the course of nc.
Mr. P. H. Hulton, who provides much information iitjthe
British Museum catalogue of the bequest, refers to the fameJ ae
Hauke's rooms in the rue du Chcrchc-Midi in Paris: 'fojthe
scope as w ell as the quality of the collection w hich he had bn.ght
there after his return from America. It included French jh-
teenth-century objects, Renaissance bronzes, Greek sculp ire.
c hincsc pottery, Egyptian antiquities and French drawings 0111
the eighteenth t< > the twentieth centuries, all revealing that n nc-
ment w Inch w as an inalienable part of his taste.
Refinement of choice is to be seen 111 every instance i j the
drawings left to the Museum. The study of a mule worn.- by
Pierre Paul Prud'hon, the earliest in date, well exemplify the
melting soilness of c hiaroscuro 111 whic h this artist of the tJnsi-
tion period from the eighteenth to the nineteenth ce.urv
opposed a Corrcggio-likc voluptuousness to the severities on eo-
Classicism. It has been associated In J. GuifFrcy (L'Oeuif m
l'i,m Paul Pmtl'lioii) with the decorations in Pans that Pruiion
designed in honour ol the marriage of Napoleon and Nine-
Louise 111 1S10. They included symbolic figures of whicltnt
artist supplied drawings, one of them being Navigation. I id -
hon's sun engraved the finished result, showing 'Navig 011
clothed, holding an oar 111 an altitude which the model u tlic
c li.ilk draw ing sec ins to have been required to take up. I he pud
piortrait by Ingres of M. Charles Hayard and his daujltci
Marguerite takes high rank in the exquisite series \no
provided his livelihood for a tune alter the collapse of the ill 1
I in pi re. Every nuance of black lead is used from the- most cli-
cite grey to the depth of black with which Ingres concemtt
attention on the eyes. Intimacy and affection in the |ios m
expression of p>arcilt and child arc conveyed with the a
sensitiveness and delicacy of draughtsmanship that distill
the Ingres ol portraiture from the Ingres of classic theor 4H<
formal composition.
in Louis Andre Theodore Gericault. The
m/ Waggon (Route de Londres, L'Attelage <i
ois Chevaux, Le Chariot). Watercolours over
ack chalk outlines 8i iol inches.
The art ot Gericault gained an added clement of w hat might lu-
lled romantic realism from his stay in London. This dramatic-
ly appears in the watercolour, over black chalk outline, ot a
>al waggon drawn by three horses on the outskirts ot the city.
'he foreground arch could be that of Highgatc, though it
calls also the Adelphi arches w here Gericault observ ed similar
)rse-drawn drays. The smoky urban silhouette and the stretch
; waste land, w ith its leaning signpost, have already a suggestion
Cruikshank's London.
This phase of Gericault's development may be contrasted with
key point in that of Delacroix, his visits to North Attica where
:e colour and spirit ot Arab life inspired both drawings and
lintings. The powerful studies of a seated Arab in black and
d chalk reflect Delacroix's appreciation of Arab character,
:aring and costume. A pencil drawing ot a young woman
clining, by Corot has, with all its charm, the indication ot that
"m grasp ot form that made Corot a great master ot the figure
1 well as ot landscape. A w atercolour by Ban c ot a lion on the
' owl shows him at his best in the medium he used alternatively
his sculpture but with much ot his sculptural force. It recalls
e admiration tor this aspect ot Barye's art expressed by Theo-
iile Gautier: '. . . the brush has the firmness ot the sculptor's
'ol. You would say it was made ot lion's bristles so roughly does
attack the grained paper he uses by preference'. Daumier, in
s Mountebank Playing ii Drum provides a fine version ot the
emorable figure that appears in other drawings, impressive m
e strong relief that gives to the mountebank's features a
•btle compound ot the heroic and the pathetic.
1 Degas, inimitable in catching the momentary attitude, is
^presented by two brilliant studies executed in oil paint thinned
1 ith turpentine on coloured paper. The Girl with Field Glasses ;s
study for a race-course picture in which she was discovered as a
1 'ectator when the picture was cleaned after turning up at
ptheby's in 1959. The terseness of brushwork magically evokes
Eugene Delacroix. Studies oj a Seated Arab (
ch.dk and watercolours, heightened with w
12^ ioj inches.
Arabc Assis). HI
hite, on brow fl-
ick and reil
grey paper
wih
229
Hilairc Germain Edgar Degas. Girl with Field-glasses ( If tunic ii l,i Lorgnette, '/.)•</./ '). Oil painl thinned u iih i urprni inc on pink p.ipir
1 1 K 7. inches.
1 1 unplctcncss in attitude and expression. I he Diiiiscuscs ii hi Banc,
.1 study for tlie painting in the Metropolitan Museum, is admir-
ably characteristic of the way in w hich he began to observe the
movement ol dancers in the 1870s. The placing of the figures
foreshadows the unconventional mode of composition that
effectively emphasizes movement in the painting.
I he aHmit) of the Dutch painter, |ohan liarthold |ongkind,
with Ins French Impressionist contemporaries can be well
appreciated in the lush and broken colour of the gouache la '-
si ape, Route au Priiitcmps, a \\ ork of his Liter period ( 1 880). A
cli.dk drawing of the nude by Renoir, wlmli has been dad
between 1885 and 1800, marks the time ol Ins departure fr n
Impressionist theory and method and his reversion to pra<
more akin to thai of the Old Masters. The human figure gaii cl
an iih reasing importance for linn in his efforts to return to c la 1
tradition.
Two important reinforcements ot the Museum's co
the drawings by Scurat and Van Gogh. The studies b) Sem
principal among those he made for the great work .1 Sitiidav
afternoon on the island oj l.a Grande Jatte in the Art Institute of
Chicago. His conte crayon on grained paper crumbles into i
tonal suggestion of the pointillistic colour of the finished picture.
The figure study (reproduced by dc I lauke in his definitive
catalogue of Scurat's oeuvre) establishes the stately pose ot the
lady with parasol and bustle and her top-hatted companion, who
stand at the right in the painting.
The drawing by Van Gogh, /../ Cran from Motitmajour (1SS1)
is an astonishing feat, as a large hut minutely detailed panorama
and m the technical resource it displays. I lis own view, that it w as
one of the best things he had done in pen and ink, was will
justified. Using a recti tor thick strokes and another pen tor fine
lines, with two shades of brown ink also he was able to give an
extraordinary variety and interest of pattern to a plain w ith no
features of special note. The calligraphic gusto of the foreground
treatment, the systems of dots that seem to give the colour of the
land, the little tram running across the wheatfield, the small
incidental figures, the remoteness of distance are united in a tour-
de-force of design.
An intensch vivid portrait drawing of the actress, Man die
Lender, by Toulouse-Lautrec and a monoprint, Tahitian Heads,
by Gauguin bring the drawings of the dc Hauke bequest to the
end of the nineteenth century. Only sixteen in all, they are land-
marks so discerningly spaced as to leave the impression of having
viewed the draughtsmanship ot a hundred years m all its facets.
eorges Pierre Senrat. Figure study for 'La
mnde Jatte' (Le Couple, La Promenade). Conte
•ayon I2f 9 1 inches.
incent Willcm van Gogh. La Crau from Mont-
"jour. Reed and fine pen with light and dark-
own ink over black chalk 19J 24 inches.
131
A Tinworth Diary
Doulton's ceramic sculptor
IN an article on English ceramic artists ol the Victorian era
contained in Volume 4 of The Connoisseur Concise Encyclopaedia
(>/ Antiijiies, the present w riter touched on the ceramic sculpture
ot George Tinworth (1X43-1913). Tinworth was employed at
Doulton's Lambeth works from the late 1860's until the time of
his death. I lis finely modelled religious plaques in terracotta
received high praise and were acquired for churches throughout
the country. I oday his amusing animal models and other small
scale w orks are being sought by mam collectors.
Recently a diary kept by Mrs. George Tinworth 111 1888 has
been discovered and extracts are here published by kind per-
mission of Messrs. Doulton & Co. Ltd. Readers may well
recognise models recorded by Mrs. I in worth for her diary is, in
effect, largely a record of her husbands work. Collectors will
rejoice in Mrs. I in worth's accurate record, tor thev will be able
to obtain much interesting information on the date of intro-
duction of various models, the number of different mice com-
positions designed up to 188S, e tc. I hcv may be surprised to
learn that I inworth's much publicised relief plaques (see No. 5)
were not at that time commanding a ready sale.
Tuesday jrd January, t888.
(ieorge is having the Shaftesbury panel moulded. Everyone
who has seen it likes it and thinks the portrait of Lord Shaftesbury
good. I Ins panel consists of a portrait of the above ( lentlcman at
the top and three small panels representing
(1) lord Shaftesbury with the children in Exeter Hall, (2) the
bo\s mi the training ship, (3) the ragged boys and girls in the
streets.
Tuesday 101I1 January.
George has been touching up the Shaftesbury panel out of the
mould.
Saturday 1 January.
I he photographs ol ( ieorge s panels
Magi( I .interns. Sir I lenry I )oulton is
and pottery at the Km al Institute.
Tuesday 1 ~ih January.
( Ieorge is very busv as usual.
Saturday 1 1 st Januai y.
I he large panel of "1 he last Supper came out of the kiln
today, broke- 111 half, (ieorge was in such a way about it; quite
upset him, be sides being a very trying subject to do.
ire going to be used tor
oin>j[ to lec ture on them
GEOFFREY A. GODD \|
A tonday 2 jrd January.
(Ieorge finished a second panel ot Lord Shaftesbury today.
Tuesday -•-/?// January.
George co'mmenced the panel ot 'The Good Shepherd' to> y
for a Gentleman at Brighton. Sir Henry and Mr. Lewis Doult >,
also Mr. Sparkes, payed G. a visit.
Wednesday 2$tJi January,
(ieorge is going on with the panel of 'Lovest Thou Me' f< a
Jersey Gentleman.
Monday joth January.
(ieorge has designed three frogs on rock work tor trial
some mice having tea called 'Scandal'.
Tuesday jist January.
(ieorge designed some mice eating p.
table ; also some drunken mice.
Tliursday _'//</ February.
George finished the panel of 'Lovest I hou Me' toda)
a lot ot work in it.
Friday jrd February.
( Ieorge often feels dreadfully discouraged, his panels not sell
directly he finished them. He often says what a difference w
him and painters. When a noted man paints .1 picture it is s
directly, but God orders all for the best and we- must wait
own good time.
Monday Oth February.
(ieorge designed a frog in a sedan chair with frogs carry
it. Out ot forty different mice that G. has designed they w
two of each for the showroom.
Tuesday jtli February.
The three frogs on rock work came out ot the kiln v
satisfactory, (ieorge se-nt one to Miss Watts and one down
Sir I lenry I )oulton. ( lanon Pelham paid ( ieorge a visit today.
Saturday 1 February.
George is designing a frog reading a book lookin
comical.
Monday 1 jtli February.
( anon IVlham came to see Sir Henn and George about
pane ls 101 I ambeth Church. George went over to the ChuHi
with ('anon I'elhani and he has decided to have the Crucifixih
in e e litre and Apostles each side.
pudding rouiii
Thcr s
ig mjt
At Brighton.
The photographer.
Tuesday 6th March.
Sir Henry and Mr. Sparkcs came up to sec Geon
George told them how very unwell he was so he is going to
Brighton next Saturday till Monday. 1 hope it will do him good
for 1 feel quite distressed. Poor George hasnt known how to
work lately. When he has anything particular to do he goes at it
like a race horse but he does not get the reward he hoped for,
but as he says perhaps he was a little too ambitious through the
unexpected success of the large panel which was sold for soo
guineas in 1 88o.
Tuesday i jf/; March.
George commenced the Panel of the Ascension this afternoon
for a Church at Wandsworth. The men broke the Shaftesbury
in two m putting it in the kiln on Monday. It always upsets
George so much when his work gets broken.
Tuesday 20th March.
Poor George came home very down hearted. He says his
spirit seems broken. He is such a man to fret because people don't
come forward and buy his work as soon as finished, but its tin-
price which keeps them back, and the Academy uses him very ill;
but C loci's will be done.
Wednesday -Sth March.
George finished the Ascension panel for Wandsworth Church
this afternoon.
Thursday 2i)th March.
We went to Brighton this morning for the Easter Holidays.
( leorge is not at all well.
Monday 2nd April.
A great main people at Brighton. Wet this afternoon. Some
funny Niggers singing and playing outside the Grand Hotel.
Lots of Punch cv fudy Shows. We went to the Entertainment at
the Aquarium this evening.
1 1 ednesday 4th April.
George commenced the panels for I ambcth Church this
morning and worked very hard.
Monday 2^th June.
George is modelling a statuette of Sir Cunliffe Owen. Also
doing a large wise. I he weather is very warm today.
Thursday 2$th June.
George designed a new salt cellar with little boys on it. 1 hey
are for the I )inner Table, twelve in number.
Thursday tfli July.
George is doing some humorous frogs, carry a Lady Mouse to
the Opera in a Sedan Chair — two sets of them — one going, and
a second 1 >ne returning with the frogs drunk.
Friday 6th July.
Little salt cellars for Dinner Table — Boy with big Fiddle; boy
with little Fiddle; boy with Flageolet; boy with Cornet; boy
with big Trumpet; ditto small boy with Kettle drum; boy with
hurdy gurdy; a girl singing; a girl with Tambourine; a boy
with an organ; a girl at the pianoforte; a boy with an accordion;
boy with cymbals; boy with a flute; boy with a piccolo.
A set of four figures representing the Fishmonger, the Baker,
the Butcher, the Poulterer.
Tuesday 10th July.
George has been designing salt cellars with little boys on them.
A gentleman came to see him and bought 12 of them besides
mice, in the Showroom.
Wednesday 25th July.
Sir Cunliffe Owen came to George's Studio and sat an ho ,r
for his portrait for the Statuette which George is modelling lor
him. George also had another visitor; he was a Master of some
ScIk ">1 of Art in the country.
233
Tuesday 21st August.
George has designed Pharaoh sitting in a chair for a card
holder .it the back and is going to do his I )aughter too.
'Thursday _' >/</ August.
Mr. Edwards gave George .1 photograph of his panel called
I he World . I he panel is in a Church 111 I runty Road. Upper
I ooting.
Thursday 6th September.
Cieorge is busy doing the |ardiniere for the Paris Exhibition,
and other things.
Thursday 1 ith September.
George designed a ( !andlestick v\ ith a boy on one saying good-
night but looking very miserable, and on a second one saying
good morning and looking as bright as buttons.
.\ iouday 24th September.
CJeorge has been touching up a Punch and |udy Show today
[see No. 2]. Canon Pelham has un ited Cieorge and Sir Henry
Doulton to Dinner on Friday evening to meet the Bishop of
Rochester.
I uesday 2 wi Septemht r.
Mr. |. 1 ). came up with two photographs of the inventor of
the voice machine to ask him it he could model a Bust of him
lor somebody. ( ieorge said \ es he could in a week.
I I 'ediiesday 26th Seph tuber.
George designed two Cupids whetting their Arrows and put
at the bottom sharpening up for more failures.
Monday 1st I ktober.
Cieorge designed a new tiling Pear s Soap a failure; one black
boy and a w bite boy tr\ ing to wash the black off.
7 hursday 4th < \ tober.
( ieorge hail four visiti >rs from Gomshall way. 1 Ik Gentleman
said wherever vou hear Doulton s name 111 the future Mr.
I inworth would be heard w ith it.
7 hursday 1 ith ( h tober.
I think this phonograph is .1 very wonderful thing. I was
reading in a paper that as many as thirt) Actresses had them for
use in their o\\ 11 Boudoirs to hear their o\\ 11 voice speaking.
iriday 1 2tu ( h tober.
Col. Gourand came to see Ce< >rge today and likes the Bust of
Mr. Edison. Sir I lenr\ Doulton came up to see ( ie< >rge and Miss
Watts went to I ambeth ( hui c h to see the Rcrcdos w ith ( ieorge.
II 'ednesday 1 ( ktober.
George designed .1 beautiful vase today, (ieorge has not been
at all w ell lately.
Saturday 2 < >< tober.
(ieorge is doing a Statuette ol Sir Henry Doulton. Everyone
w ho has su n it says it is like him.
Buckland's panel of Rebecca receivii
am's Servant.
g the Panel of the Saviour Blessing liti
Monday 29th October.
George finished Mrs.
the bracelets from Abrah
7 uesday Oth November.
George has been doin
children.
Thursday 1 $th November.
( ieorge finished the Statuette of Sir Phillip Owen this mornii
and he has modelled it to Sir Phillip s satisfaction. Sir Hen"
came tip to see C ieorge today.
A Iouday 1 gth November.
(ieorge has done another panel out of the mould of Rebec
receiving Gifts or gold bracelets from Abraham's Servant. I
put underneath, it you want to please the ladies give them,
piece of jewellery but it they are good women it is only addif
|cwcl to |cwcl.
1 1 'ednesday 2$th Novenuwr.
George says; I was thinking what happy moments I had t
first morning I found out the Lambeth School. It was the s.u
morning that Frederick Doulton got member for Lamber
While I was standing looking at the outside of the School a M
Butt, c aretaker of the Sc hool, came up and she asked me to con
inside and when I saw the heads in w ater colour on the easels .1
the Statues placed about the room I felt quite at home and I tcl
her that if I had the stone I could carve any of those GreJ
Statues, and she said, could you; I had practised stone carvi-
at home for I had bought a lump of rotten stone at an cj
material yard and started carving an Angel with w ings out ofj
and all of a sudden the w ings jerked off. Then 1 thought I wotj
carve it without wings. Next the head jerked oft. Then I a
my brother to stand for his foot w hich I carved out of the fl
111. uiimg piece of stone. A friend called to look at it and taking
down from a shelf he dropped it. After that I carved a medallij
out of it and gave it away and thus ends this stonv story.
Sunday 2nd December.
(ieorge has done 12 different little boys and girls playil
fiddles, with .1 salt cellar or pin tray attached. They look 1
pretty.
1 1 ednesday 1 2th December.
Sir Henry Doulton s Factory burnt down in High Street, ■
several rooms, and a great number of George's moulds v-
unfortunately demolished 111 the flames. I le w as so terrified wl
he saw the bills at the Station he never had a more miserable r
m his life because he didnt know w Inch part w as burnt.
All illustrations are reproduced by permission of Messrs. Doultoni
(.'(». Ltd. For further information consult Royal Doulton 1815-1)
by /). Eyles, ig6j. <
5. The SonsofCydij
_
The Times-Sotheby Index: 3
ENGLISH SILVER
GERALDINE KEEN with the assistance of Charlotte Prest and Ian Bennett
s article is revised and reproduced from 'The Times' by permission
10
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IMPRESSIONISTS
up 9 5 times
ENGLISH 8ILVER
up 6 times
UK SHARE PRICES
up 3 5 times
59
61
63
65
67
"'HE London Goldsmith's Hall in [478
adopted .1 system ol hall-marking which
continues, essentially quite unaltered,
ranteeing the quality of silver and gold, only
t silver collector, as a result, can state dog-
ically that a piece lie ow ns dates from a pre-
hear and name its maker. As m prints, the
ous 'states' determine rarity and price, so a
e ot silver is valued on the hasis ol the
ity of its marks, its condition, beauty and
city. After London, many provinc ial centres,
ihly York, Norwich, Exeter, Newcastle,
< ster, Birmingham and Sheffield, have had
i' ihing colonies of silversmiths and their
j assay offices; the two latter, are unfortun-
. . the sole present day survivors in England,
llh Scottish and Irish silver also available
I e is still a wide field lor the discerning
I pctor, foreign pieces apart.
HE MARKET in antique silver has reacted
Viiently to devaluation. Prices at Christie's anil
' why's important silver sales at the end of'
December I9<>7 were more than one-third
higher than the average level for the year,
according to The Times-Sotheby index. Auc-
tioneers and dealers alike were staggered by the
bidding. A tine George II salver reached /X500
at Christie's, a set ot four candlesticks from the
same reign made £5,500 at Sotheby's. In both
cases the estimates current before the sale had
been about half the actual pine realized.
The index for English silver (1660-1837) has
been constructed by looking separately at six
different types of object to which the silversmith
frequently turns his hand: salvers, sauce tureens
and boats, porringers, candlesticks, tankards,
and coffee and chocolate pots. The effect of
devaluation has been remarkably consistent —
where good pieces have been sold since Nov-
ember i<X>7- For silver salvers we cahulated that
the latest prices were 32 per cent above their
average level for the year before devaluation,
tor porringers 36 per cent, tor candlesticks 30 per
cent, lor coffee pots 35 per c nt.
It should, however, be born in mind that
BOO
700
600
600
400
Silver and
aevaiuai
[ion
1950-5
-7
1 Antique silver
/before and after
devaluation
Stiver melt price
before and after
devaluation
«7XTTXTn
I PROVINCIAL SILVER
700
600
too
1,000
% INCRE A8E
ON SILVER
PRICES
1950-5;
Three year moving averages have been used between 1951 and ls>til.
these average price increases were made up ol
some surprisingly low puces and some like
those quoted above which were double or
more than double previous estimates.
The index for English silver stood for 1U67 at
607; in other words prices for good seventeenth,
eighteenth and early nineteenth ccntur) silver
were on average six times above their level 111
1950-52. If the sales since devaluation on Nov-
ember lN, 19(17 are considered separately from
the rest ol the year the level ol the index jumps
to 800, or eight times its 1950-52 level. I he
index shows a fairly modest rate of appreciation
in the early fifties, around 5 or r> per cent a year;
the pace quickened around [957, but the past
four years have seen the most rapid inc rease i 1
prices. Starting in [964, they appear to hav.
lumped about i s to 20 per cent a year.
Compared to some markets so tar cxplon 1
by The Times-Sotheby index, the increase
silver puces appears comparatively modest. T
value of impressionist paintings had multi
>j\ times since 1950-52, and Old Master pun;
I. Extremely rare Irish Chinoiserie porringer
maker's mark J.S. in monogram, probably by
John Scgar, Dublin, 16X5 7, 20 oz. 12 dwt.,
9] inches wide (over handles). Sotheby's, 4th
July 1968, /,6,8oo. Only about si\ pieces of Irish
Chinoiserie are recorded. Although the exact
use to which porringers were put is not known,
their name implies that they were made to hold
some form of hot gruel; they were not made
after the 1780s except as ornamental christening
presents. This piece was of exceptionally line
quality.
4. Exceptionally fine Queen Anne octagonal
coffee pot by Colin McKenzie, Assay Master
Edward Penman, Edinburgh, 1713, 35 oz. 15
dwt. (all in), 10 inches high. Sotheby's, 30th
November 1967, //>,ooo. Scottish silver is com-
paratively rare, and a piece of this dale of such
si/e anil quality is remarkable. It is particularly
unusual to find a provincial piece so closely
resembling current London models at such a
short interval of time.
2. Set of four George III sauce-boats, three by
Paul Storr, London, 1S12, the fourth by Robert
Garrard, London, 1818, 163 oz. 2 dwt., 10
inches wide. Sotheby's, 18th July 1968, /"5,50c
Very good examples of Paul Storr's later work,
when his style was at its most rococo. This type
of sauce-boat with animal handles is rare, which
no doubt led to the high price realised.
3. Pair of William III figure candlesticks by
Anthony Nelmc, London, 1697, 43 oz. 19 dwt.,
8,1 inches high. Sotheby's, 4th July 1963, j£l,350.
These very unusual pieces were probably
amongst the first figure candlesticks to be made.
Nelme was one of the finest Huguenot silver-
smiths to come to England, and was second only
to Paul de Lamcrie.
more remarkable still, had shown .111 iX-told
use since the early littics. This may partly be
explained In < ierald Rcitlinger's theory thai
tins generation is seeing .1 major revaluation ol
artistic genius as compared with the craftsman's
skill. Iii our day it seems 'normal' that sever. il
thousand pounds should be paid for .1 rough
sketch by Picasso — the price of genius— while
many people arc staggered at the thought of a
pair ol simple Queen Anne candlesticks fetching
I he buoyancy of both the markets con-
sidered so far, however, closely reflect new
soi ial attitudes to art ; the boom 111 impressionist
paintings reflect the new millionaire snob
value ol modern or relatively modern art.
the appreciation of ( >ld Master prints reflects
the passion among the educated for being con-
noisseurs ol something. The market m antique
silver has flourished since the middle ol the last
century. Less involved with the valuation or re-
valuation ol genius, the British tradition of hall-
marking means that the purchaser knows more
precisely than in any othei held |ust what he's
buying the year, the maker, the fineness ol the
silver.
English silver is thus a will charted ami tradi-
tional market; in tins context, .1 six-fold in-
crease m prices is remarkable, especially when
compared to share prices wlnih have risen
roughly 3J times over the same period.
Investment .is a motive lot collecting early
silver is also more accepted than in othei mar-
kets. Tins may be parti) psyihologii.il, reflecting
the traditional connexion between silver and
coinage. I lowever. the melt value ot a h
Adam candlestick is today perhaps one per c<
ot its market value - though some lyth centu*
silver can still sell around the melt price, espel
ally late Victorian centrepieces. All the same, t1
violent reaction to devaluation 111 this marl
shows that it is still widely considered as i
natural hedge against the eccentricities of paj
money 111 much the same way as the hoardi
ot gold or silver bullion.
One ol the most striking findings of T
Timcs-Sotheby index is the consistency oft
increase in silver prices. Ot the six articles c<
sidcred separately, the index tor silver tankai
showed the smallest appreciation, live tin
since 1950-52; however, tins is a prc-dcvaJuati
level, since no tankards ol sufficient merit to
1111 hided 111 the index w ere sold 111 1007 after iS
November. At the other end ot the scale t
miles lor sauce tureens and boats reached '1
lor luf>7 as a w hole, and was closely followed j
salvers at f 147 and 1 andlcstk ks at 650.
These variations are too small to indicate .r
significant shift in the popularity ol one arti'
as opposed to another. In the C3SC ol really I
work, the auction price is a reflection ot 1
quality ol craftsmanship rathci than the pat
iiilar form it takes. At the cheaper end of I
market, however, it tends to be the more fui
tional pieces that command the highest price
candlesticks or coffee pots take precedence o
salvers, lor instance.
I he highest prices 111 the silver market
paid loi the work ol l.unoiis silversmit
I lister Batcman, Paul Storr, and above all I'
Lameric — though very hue and rare silver
n sometimes rival Lamerie prices. The highest
ace so far recorded for a single piece of English
vcr is the £27,000 paid at Christie's in 1961
r the Duke of Sutherland's wine cistern by
I oil de Lamerie. This was almost rivalled at
rtheby's in [966 when two very fine wall
mces, with .1 most romantic history, also by
merie, made £23,000.
1 Lamerie's name has always held a certain
agic and the prices paid for his better work
. ve been consistently high throughout the
riod considered here. On the other hand,
>orer pieces, saved from the melting-pot by his
me alone, appear to have been undervalued in
e early years. The value of Lamerie's work as
whole has increased about seven times since the
iriy fifties. This rise is compounded of a much
lallcr appreciation for his better pieces, and a
pid increase tor his poorer ones.
The index records a major rise in the popular-
' of provincial silver — Edinburgh, Dublin,
ark, Exeter, York, Newcastle upon Tyne, etc.
the past there was a tendency to consider
vcr made elsewhere than London ot very
fcondary importance, although still, in general,
the cheaper end ot the market the value ot
ovincial silver had multiplied 1 1 times since
51. While the rise lor Edinburgh and Dublin
i substantial, it is outpaced by the smaller
iitres, notably Cork in Ireland and York 111
lgland.
There appear to be a number ot factors he-
ld this revaluation. As more has become
Uown and written about silver, the rarity
lue ol these pieces has been more widely
predated, for instance, a pair ot Aberdeen
rec-pronged forks of considerable rarity but
tie other interest made as much as £440 at
kheby'sin 1967. In the case of Ireland, thepros-
rity of the country and thus the amount of
oney in the pockets of collectors has markedly
increased since the war; nostalgic American-
Irish money may also be a factor.
Since this article originally appeared last
January in 'The Times', the silver market has been
violently active. Although the Index in Decem-
ber stood at 607, over a third higher than the
previous year, it now stands .it 971, an increase
of 60 per cent. This flurry ot interest in fine old
silver is partly linked to the rise in price ot silver
bullion; the bullion price doubled between June
1967 and 1968 as currency tears brought specul-
ators into the market on an unprecedented scale.
Although the bullion market has now lost
roughly halt its original price increase, prices ot
antique silver seem to be continuing their up-
ward climb. Sotheby's turnover in this held last
season was £ 1 ,Soo,000 as opposed to only
£800,000 the season before, an increase of 12 s
per cent; and Christie's also show an increase of
77 per cent over the previous season's total ot
£809,000 to £ 1,431 .299.
Some outstanding individual pieces appeared
in the saleroom this year, notably .1 C harles II
porringer and cover, w hich w as sold 111 Notting-
ham in March by Henry Spencer and Sons for
£9,800. In the same month the magnificent
Cumberland tankard (see illustration) was sold at
Christie's lor £12,000, and a month later .1 tiny
Charles II Chinoiscric tankard fetched £5,200 at
Sotheby's. The season ended with a flourish
when a pair ot Elizabethan silver-gilt livery pots
fetched a record £36,000 at Sotheby's. The
growing penchant tor highly ornate and late
silver was clearly demonstrated at Christie's in
|ul\ when 24 lots from the Hutlm collection,
which had cost the owner £8,948 at auction
between 1945 and 1 964, fetched £64,480. All
these prices are truly outstanding, and emphasise
the enormous inc rease of interest there has been
in silver during the last six months.
Die prospects tor silver seem pretty well
assured, especially while the international cur-
5. The Cumberland Tankard. A large George II
tankard engraved with scenes of the battle of
Culloden, 1745, by Gabriel Sleath, London
1746, 114 oz., 12; inches high. Christie's 13th
March 1968. £12,000. Enormous physically and
of great historical interest, and with particularly
fine engraving showing a panoramic view of the
battle of Culloden, it was obvious that this
unique piece would fetch a record price.
relic v situation remains in a dclu ate state. This is
an 111ter11at1011.il market, well established, and
less subject to flue tuations in taste than the other
tine arts.
6. Rare and very important pair of George II salvers on foot by Paul dc
Lamerie, London, 1736, 170 oz. 5 dwt., 16J inches diameter. Sotheby's,
20th February 1964, £10,500. Lamerie is deservedly considered as the great-
est English silversmith. These salvers are magnificent examples of his later
work, which was becoming more ornate and decorative. A beautiful and
very unusual feature at so late a date is the cut-card work on the under-
sides. The contemporary arms are those of The Earl of Hardvvicke, who
was Lord Chancellor from 1737-56. and who died in [764. Lord Hardvvicke
was a notable lawyer in his day and frequently bore the brunt of malicious
attacks by Walpolc.
Contributed bv Adrian Hurv
T
'Women'
III current exhibition .it the O'Hana
Galleries (13 Carlos Place, London W.i)
is exclusive to women, mostly French Impres-
sionist and after. Georges Bottini (1873-190(5)
brings this lesser known interpreter of the Pans
scene into some prominence among the greater
artists by whom he is surrounded. Fie had some-
thing of Lautrec's style and subject-matter
though less satirical in vision. A work of sheer
delicacy, not to say reverence, is Vuillard's small
portrait of his mother seated in a vaguely sug-
gested interior. The artist was wise not to carry
this sketch beyond the immediate inspiration
that brought it into being. A large pastel by
Vuillard of figures seated on a beach with the
sea receding to a wide and high horizon is
worth studying tor its colour subtleties in blues
and greens with a touch of red in the foreground,
but might well have been more effective it done
on a smaller scale. The [885 Van Gogh profile
portrait of a woman is related to his Nuenen
period. No bcautv, but very moving 111 the
artist's strenuous effort to portray the hard lite
and primitive character of this anonymous but
now immortal face. Works by Van Dongen,
Pissarro, Renoir. Picasso, and several bronzes In
I 'eg. is and Maillo! 1 omprise a lively assembly ol
the eternal feminine in various moods and
poses.
Old Masters Galleries
SEBAST1EN FRANCKEN. or Vrancx, the
Antwerp artist, was adept at painting landscapes
with figures and animals as may be seen in a pair
of pictures (Old Masters Galleries, 62 'South
Audley Street). One shows a party arriving at a
country estate, the guests being received by the
host with considerable ceremony — a musician,
servants m the background, a prancing horse to
the left and tall trees flanking the canal, making
an elaborate pictorial ensemble. The companion
work 'describes' 111 equal detail a traveller on
horseback arriving at an inn, mine host bidding
him welcome, a cooper working on barrels and
a child playing with a hoop. Both paintings arc
rendered with an engaging naiveti , the artist
filling his canvases with every tact, large and
small that he could see.
Based on an engraving bv Pieter Brueghel the
Elder, The Hitrdy-Gurdy Man by David Vincke-
boons (1576-1629) is a compact design ot the
wandering minstrel surrounded by an audience
ot children and adults enjoying the 'food ot lite'
in a simple and natural way long before the
radio and television 'piped' it. good and bad,
universally for twenty-tour hours a day. A
religious picture reminiscent ol Rembrandt by
|akob Willemsz de Wett is The Circumcision.
Some impasto and general characterisation ot
the figures show the influence ot that great
master with whom De Wett was a contempo
ary. Willem Van 1 )iest's launching of a new sh
at The Hague is a marine painting of outstandii
merit. Conspicuously beautiful is Francesc
Francia's Holy Family with St. Anthony, sign
and dated 15 12, which came from the Earl
Northbrook's Collection.
Dutch Masters and Others
IT is no small achievement to collect about six.
old I )utch and other masters of such quality
are to be seen at Mr. Brian Koctser's exhibits
(38 Duke Street, St. James's). The connoisse
therefore has the choice ot various seventccnt,
century works — still-life, landscape, figure a
marine subjects. To mention a few, Lud
Backhuisen's Ships in a Stormy Sen has tremeti
ous atmospheric power and sense of moveme
a picture recorded 111 Hofstede de Groot a
J. Smith's Catalogue Rtiisonnc. Among flow
paintings the Willem Van Aelst is a good 1
ample ot this master's expert handling. Beloi
ing to that same century, so prolific in Dutch
generally, are works by Gerrit Heda and Jc
van Hagen. Somewhat earlier in period is
Goiemare's kitchen table literally 'groani
with food' ot every kind. Of the figure subjo
Frails van Mieris, who inherited Gerard Do
exquisite manner, attracts us with a portrait c
lady pointing to a playing card of the ace
hearts. Coming down the social scale as it wj-
there are an interior ot an inn with peasa .
drinking and smoking clay pipes bv Thot .
Wyck, and boys playing skittles outside
tavern by David Teniers the Younger,
landscape by Martin van Valkcnburg of moi,-
tains, river, bridge and trees is a tour deforce If
detail contrasting w ith the simplicity of col(r
and economy ot statement ot a landscape \\ 1
1 Scbastien Vrancx. Landscape with figures. One- of a pair. ( )Ul Masters
Galleries.
2. Thomas Wyck. Interior of an inn. Panel 16 14.J inches. Brian Koetser
Gallery.
f #
David Roberts. The Salute, Venice. 36 49 inches. Bernard Bivall Gallery. 4. Picter Coopse. Battle of Leghorn, 1653. 38^ 53J inches. Trafalgar
Galleries.
1 old house by Van Goyen. Other notable pic-
ires arc by 1 >roochsloot and De Mumper. The
lost important work i,i this exhibition is The
etmon on the Mount by that rare artist know n as
te Monogramist of Brunswick, remarkable
jnsidering its date 1540 for the realism of a
rge crowd of figures against a naturalistic
ndscape background.
Lefevre Gallery
T is gratifying to find a comparatively young
lench artist who had not succumbed to the
ishionablc nonsense masquerading as art during
le last twenty years. Michel de Gallard, judg-
ing by the prizes that he has won and the many
xhibitions that he has held in France, London,
Canada and Tokyo, is enjoying a commendable
|iccess. His second exhibition at the Lefevre
fallery (30 Bruton Street) took place recently.
>e Gallard's family hoped that he would bc-
ome a surgeon, and he made some tentative
fforts in this direction, but his anatomical
rawings were so good that a change in favour
I art was imperative. His vision is direct and
owertul and his handling of paint appropriate
) that vision. I liked particularly Fleun <m Pot
Mr, Ms, Hans des Champs. Ncige, a snow
cene, suggests with simple but expressive force
■attire's mood of desolation under its white pall.
David Roberts, Etty, Etc.
cFTER Saint Mark's, the Salute is the most
jperbly sited church in Venice. About three
undrcd years old, its blend of late Renaissance
id Baroque is as severe a test of architectural
raughtsmanship that I know. A picture of the
(alute by David Roberts, R.A. (Mr. Bernard
Ball's Gallery, 174a Kensington Church
treet) proves this artist's mastery of the subject,
xhibited at the Royal Academy in 1S59 it must
be among the last and best paintings by Roberts.
Its breadth of style derived from the fact that he-
had been a scene painter in his youth in Edin-
burgh, at Drury Lane and Covcnt Garden.
Two portraits with obvious influences arc
Gerard Soest's study of Sir John Vcrney and
fames Northcote's picture of a lady wearing a
large hat and w hite dress. Soest came to London
in i^sci and followed the Van Dyck and Lely
tradition. Northcote was a pupil of Reynolds
and his biographer.
Four small Etty sketches of exceptional charm
express the virtue ol having been painted solely
tor the joy ot painting them. C Hhcr works at Mr.
Bivall's are a family musical party by Alexander
Nasmvth, Harbour with Ships by Robert Dodd
(1748-1816), battle scene by [acques Courtois,
scapiecc by Alfred Vickcrs, and a large painting
by lames Aumonier, who scored success as a
landscape painter in England and France during
the second halt ot the nineteenth century and
first part <>t this.
Barker of Bath — Towne of Liverpool
AN artist fortunate in his time, place and patrons
was Thomas Barker of Bath (1769-1 S47). To
have been a protege ot Charles Spackman,
wealthy coach-builder, and sent by him to
Rome with a carriage and enough money to
maintain himself as a gentleman while studying
was indeed a happy destiny. Barker fully justi-
fied Spackman's generosity, became a prosper-
ous figure in Bath and London and was rich
enough in time to have a fine Doric house built
for him on Sion Hill, Bath. An attractive land-
scape painter, he was also particularly acute 111
rendering characteristic rustic figures. Two such
little pictures of an old man and a youth by
Barker are to be seen .11 the Lincoln Graphic
Galleries, 32 Brooke Street, H Iborn.
Charles Towne ot Liverpool had no such
opportunities. On the contrary, his lite from
childhood was a struggle against adversity, but
he survived his difficulties to become a distingu-
ished sporting artist. A picture ot sheep, cattle
and goats, signed and dated r 8 r 5, shows with
what devoted knowledge and meticulous pre-
cision Towne could tender animal form in a
landscape setting. This work is also at the Lin-
coln Graphic Galleries; and among other English
paintings of interest there are shipping subjects
by 1 lent v Uedmore, and a dramatic sketch ot a
ship on the rocks by [ames Webb. Thomas
Danby, also known as a marine artist, is re-
presented 111 this collection by a landscape con-
sisting of boulders, waterfall and trees painted
with no little sense of the- beaut) and solitude
ol the sc ene.
Dutch Victory
|G)HN DRYDEN in a memorable passage dated
[uiic 3rd. 166$, writes that '111 the first summer
of the late War our Navy engaged the Dutch; a
day wherein the two most mighty and best-
appointed Fleets which any age had ever seen,
disputed the command "I the greater halt ot the
Globe . . .' The noise of the cannon was heard in
the c ity of London, but the English were then
victorious. There was an Anglo-Dutch sea
battle off Leghorn in i'>s? when our squadron
was decisively defeated. This engagement was
painted by Pieter ( loopse and the picture is to be
seen at the Trafalgar Galleries (35 Bury Street).
Coopse learned his 'trade' from Backhuisen a.)
Van de Velde. Dutch paintings of more jo\ I
and humane affairs at these galleries are a A- ,-
messe of peasants dancing and making love, by
|ordaeus and a table of delicacies for the p .
and musical instruments tor the ear by Con
Cruys.
239
Art in the modern manner
ALASTAIR GORDON
TI IIS month the i > I lana ( lallcry is show ing
a 'theme' exhibition with the spare but tcll-
ing title — Women. Since, until recently, virtually
.ill artists were men, we have little evidence to go
on for the female reaction to their own sex in art.
Those who have done so in modern tunes such
as Suzanne Valadon, Bcrthc Morisot, Laura
Knight and Barbara Hepworth have expressed
themselves with one obviously significant
difference which is that, being women, they
have empirical feeling for the characteristics ol
their subject. However closely observed and
analysed their portrayals may be, there is also
involvement and therefore total commitment.
Men, on the other hand, however pure their
motives, are voyeurs; but never as enemies —
they are invariably allies ol the opposite sex,
which is an improvement on some ol their
literary brethren. None worth calling an artist,
has shown ridicule or viciousncss for women.
Bottini (illustrated here) like his master
Toulouse-Lautrec, can only sadly, even compass-
ionately, record the appearance ol collapsed
womanhood.
I his exhibition show s the great changed
attitude of modern tunes to w omen. From loth-
century idealism to zoth-ccntun realism. ( >l the
i. Stcinlen. Study <>/ ii woman. Charcoal
is 22 inches. Ferrers Gallery.
store or so of artists exhibited three of them,
Degas, Renoir and Picasso are famous tor their
attitude to women. All quite different save for
one unanimous candour — an inability to be
sentimental. Renou had an admiration and
affection tor his models (what is more disarming
than his delicious remark that he would be
embarrassed by nude men?) yet he avoids any
sweetness by always detecting the vibrant steel
that is i loaked by i urved femininity. I >cgas had
a Titiancsque appreciation ol the physical
beauties of women, all in spite ol a quite paralys-
ing objectivity to his subjects. Picasso the sensual-
ist and woman ravisher, tearing up taboos but
nevertheless seeing women as earth-goddesses,
is the culmination ol modern man's rediscovery
of his partner's true character.
At the Ferrers gallery there is an enchanting
exhibition ol women seen through the tender
eyes ol Stcinlen, who as a draughtsman is not tar
behind Paumier, whom he resembles as a
champion ol the under-privileged. Hicsc draw-
ings remained in his daughter's possession until
recently. ind have never been seen before publu lv.
rhcy are not the subject drawings or illustra-
tions lor which he is famous but straight studio
work, main ot them portraits. Such a prolific
and natural draughtsman as Stcinlen, frequent
working against time to meet a publishing dea
line, was inevitably slick and even slack at tim
in the quality ot' his work. Not so in the
drawings: here, working purely for his ov
satisfaction as an artist, he shows what relentlo
concentration can achieve if you really can dnn
The handwriting of his work was ahva
beautiful, and in these drawings he used tl
ability without padding or irrelcvancies — t
turn ot minute muscles at the corner of a mou
that in a Hash illuminates character — the decet
ively careless sweeps ot crayon that not or
indicate all that need be done to describe a ha
do. but more important, exactly describe t
skull beneath. Beside these drawings, all sm;
fashionable portraiture in like medium is emp
and meritricious.
Among contemporary draughtsmen in lii
David Hockncy must rank as high as anyor
Ills art tomes not by way of seductive han
writing. One feels that for a modest Yorkshit
man this might be pretentious! Instead,
undemonstrative I IB pencil traces out magit
rhythms ot form and volume. It the characn
isation is understated this is only an echo of t
clear stark abstract .11 1 which the contcmpora
2. Brian Wall. Two elements, i<X>K. Welded steel painted dark blue 51 60
Grosvenor Gallery.
42 inches.
1
Jeorges Bottini. Aperitif. Watcrcolour 14
ed 1899. O'Htina Gallery.
9. 1 inches. Signed and
4. Picasso. Femme au Men Afghan. Oil on canvas 57 '.
O 'Hitiiii Gallery.
44 ,' inches.
rrative art is in some departments, replacing,
ckney's drawings were on display during
tober at the Kasmin Gallery, and confirm
the is now an artist of international calibre
ose fame will grow beyond the end ot tins
tury.
"he Royal Academy, very active in its exhibi-
ts this autumn and winter, produced a
'ndid display called '50 years of the Bauhaus'.
d many people, on seeing this, said that it
; protessional but too mechanical, too cold,
German. They missed the main point,
ich is that the Bauhaus ideal, as explained by
Iter Gropius, the founder, was to develop a
snce of seeing', and that the master/pupil
tionship should be one of reciprocity. He
tied that in any medium ot art men and
men arc born with latent talents. The capa-
' for expansion of these talents, though,
ends on how much and how well tan be
ght technique. Knowledge, in other words,
'd to skill. Gropius gathered round him
st*. like Kandinsky and Klec, architects and
Ifgners, who, although masters, readily fell in
n the ideal ot self-knowledge and revelation
li direct dispute with students. It must have
created an atmosphere something like the School
of Athens: masters and pupils alike having their
aesthetic wits sharpened by shared development
ot ideas.
Power politics broke up the original Bauhaus,
but its spirit lives on in America. Would that it
could be more readily adopted in this country,
and so break the deadlock of bewildered teachers
and frustrated students unable to communicate.
More than this, it would increase in intensity the
(already revived) idea ot artists and designers
enhancing each others understanding and
knowledge, for it must be emphasised that the
Bauhaus, although expanding a new aesthetic,
never stated or implied that this was all that
there was in artistic expression. The Bauhaus
style is indeed still being developed by young
contemporaries — a good indication of its
validity, but no one ever pretended that this
was the Omega. It was the principle that
matten d.
One of our most thoughtful sculptors, Brian
Wall, had an exhibition in October at the
Grosvenor Gallery. Unlike many ot his contem-
poraries he eschews bright colour on his metal
work. Everything is painted dark grey to black.
leaving the spectator nothing to go on except
his own sense of balance and proportion and
weight. Wall's work is a kind of architecture,
but ideal and non-functional. And it is in this way
that it must be approached, just as one looks at
an I Nth-century English house with its perfect
proportions, a curve here and there to break the
monotony of rectangles, and a lightness ot touch
with the ground that is smooth but uplifting.
The magazine Arts Review has been doing a
fiie service to the art world by publishing the
known facts about recent art thefts, famous
works of art cannot be marketed, of course, but
even famous artists have a big output ot work
that is unknow n and not reproduced by photo-
graphy. A dealer can, in good faith, buy a
Picasso or a Munch or 1 Leger (let us say) not
knowing it to be anything but authentic and
legitimate. Neither he nor the collector who
may buy from him has any redress when the
fact that it was originally stolen property conn
to light. There should be a regular and wide'
distributed description (with illustratio
where possible) of all art thefts, which coi
quickly put the thieves and then
organisations out ot business.
24 T
Continental Dispatch
FROM GERALD SCHURR
Baudelaire Celebrations in Paris
TO assess the place oi Baudelaire m art
criticism line has to span the plastic arts <>l
the nineteenth century at the time when an
academic approach, though still in the ascen-
dant, was about to he overtaken b\ the great
pictorial revolution which was (he precursor ol
modern ideas. Throughout history there have
been tew with the poet's capacitj to recognize
w hat is ot eternal value and reject what springs
trom merely passing fancy.
Until March 17th the Musee du Petit Palais
has assembled more than 800 documents,
manuscripts, drawings and pictures reviving the
'Baudelaire atmosphere' ot' 1845-1859. M.
Scrullaz, the Commissairc General ol the ex-
hibition, had a difficult task, lie lias decided to
group, room h\ room, the principal items
described and annotated, praised or disparaged
by the writer 111 each ol his famous Salons.
Delacroix, who was his god, is represented ten
times and by important works whuli had a
distinct influence on Impressionism such as
'Sardanapalus' or 'Women ot Algiers'. As well
as Ingres. Courbet, Coiistantin Guys, Goya,
Theodore Rousseau and Manet, 111 short all
those whose genius he helped to discover, the
exhibition shows a number ot English and
Trench caricaturists (Seymour, Hogarth, Henri
Monnicr). Some painters whom the poet held
in high esteem are well and truly iorgotten
today. Painters stub as Haussoulier or Arm.md
Gautier, lor instance, are a revelation t < > the
public, and Decamps, considered today as a
minor master, is seen here to be the equal ol the
greatest. The exhibition concludes with the
poet's own works illustrated by modern
masters: 'Les Heurs du Mai' enhanced In
compositions by Rouault which give startling
proof ol the enduring and topical value ol
Baudelaire's work.
Nice. Faience ot Provence
IT is only recently that eighteenth century
faience made 111 the factories ol Provence has
become internationally popular. In less than ten
years the cost ot a Marseilles soup-tureen or a
Mousticrs plate has more than doubled. The
Galerie des Ponchettcs in Nice has, until [auuary
30th, a collection ol the most whimsical and
fascinating models. It w as in 1749 that Marseilles
began to use the colours ol the petit leu which
were to make its productions famous, but trom
1 680 the lac tors had usee) the %rand fen technique.
In [777 the king's brother, the ( unite de Pro-
vence, assumed protection ot the factory ol
Veuve Perrin: pieces in high relief, plates painted
with landscapes, seascapes, flowers and fish all
treated in a tree and flowing style. On the other
hand the Fabriquc de Robert, founded in 1750.
remained classical in its decoration and, until the
end ot the century, faithful to the rocaille
ornamentation of the Louis XV style.
At Mousticrs the potter Pierre Clerissy worked
with the clays ot the region while his brother
Joseph started at Saint lean du I )esert, near
Marseilles. Services with heraldic devices, to
replace silver vessels which had been melted
down, made Mousticrs famous where, 111 173N,
the well-known potato flower and flag designs
were launched. Then the very success of these
creations caused Mousticrs to lose its unique
position. The factory increased its production
andended by mutating Marseilles and Strasbourg.
Alongside models from these famous potteries
are exhibited samples ot wares made by local
craftsmen throughout the nineteenth centurv
figurines and santons which illustrate a folklo
which is always pleasing.
From Munich to Brussels. Max Beckmai
MAX BEUKMANN (1SS4-1950) used to stud
Ins own lace constantly. The retrospective e:
hibitions (255 signed works between 1905 ai
1950), devoted to him at the Haus der Kunst
Munich until January 6th, then at the Palais d
Beaux-Arts at Brussels from January 16th
March 2nd 1969, contain no less than 30 sc
portraits painted, drawn, engraved or sculpture
This confession, this search of self and for f
key to his personality Beckmann pursu
throughout his eventful life from the naturalis
ol his early days to the works of his Anieric
period. I. very piece ot his work is divided in
separate portions emphasized by dark outlii
like old wood engravings or the compositic
ot Rouault. 'II you want to attain the invisibl
he said, 'examine the visible minutely.' In 19
he fled from Berlin and political persecution a
went to Amsterdam, lie finally left Europe t
the U.S.A. 111 1947. Because of his enigma
and symbolic compositions, his brutal tou
and violent colours Max Beckmann is oft
classed among the Expressionists. In fact he
an artist on his own, a visionary who tried
tiee himself from his obsessions 111 huge tnptvc
lie was always an individualist, a Strang
opposed even to the great aesthetic moveme:
ot his day. The lesson of these forceful works,
often overwhelming to the spectator, is nevi
theless important. Beckmann continues
inspire all those who outwardly seek to gi
vent to their anguish and to discover a sense a
meaning in it.
9
-
^ :T, fr ' '. Lite
£1
Above. Plate in Marseilles ware, f rom (lie Rol
factory. Fish design. Exhibition .11 Nice.
Left. Boudin. Hanks ol" the Seine. Maudelairc ■
hihition .it the I'etit Palais.
kit news in pictures
Far left. Since the collections at the Pilkington
Museum of Glass, St. Helens, Lancashire, were
first published (see The Connoisseur, December,
1964, and January, 1965), the museum has paid
,£10,000 for 23 additional items of antique glass,
bringing the collections to more than 200
pieces. Among the new acquisitions is this
seventeenth-century goblet made by a North
Rhine glassmaker.
Left. One of the rarest objects of its kind to be
offered at Christie's in London for many years:
this 13 1 inch high silver-gilt Royal Tudor
clock-salt enriched with cameo busts and semi-
precious stones and by the same hand as the
coffret in Mantua Cathedral which bears a Paris
mark for 1532-3, maker's mark B. Only the
third surviving identified piece from the English
Tudor inventories, it has been acquired by the
Worshipful Company of Goldsmiths of London.
Photo bv courtesv of R. A. Lee.
M Brief
second English cathedra! treasury, and one of considerable architectural
terat, has now been established — iir Winchester. First such treasury in Britain
is that at Lincoln. Preliminary display at Winchester lias now closed; the
tasiiry will re-open with new exhibits at Easter, 1969.
Mile. Florence Marmot, 46 Boulevard I'ictor Hugo, Troyes, Aubc 10,
>mce is preparing a complete catalogue raisonne of the work of her father, the
'e Maurice .Marinot, and requests information relating to the artist's paintings
the Fauve and later periods, also to drawings and glass made by him.
Herbert Schitfcr, 60 •) W. Lincoln Highway, Exton.Pa. 11)141, I 'nited States,
planning a book on American and English miniature furniture of the lSth and
rly igth centuries and would like to hear from owners willing to hare their
eces recorded.
Eric J. Stanford, the Reading Museum & Art Gallery , is preparingau exhibition
paintings by William Havell {1782-1837) a founder member of the Society of
'inters in Water Colours, and would like to contact all owners of Havell' s
orks or subjects attributed to him.
1 Cameo Corner. 26 Museum Street, Loudon W.C.i.are now holding their
'nual exhibition of contemporary jewellery , which includes new irork by Peter
ittiffe, Gil Ash ton, Gilian Packard, John Forsyth and David Pearce as well as
ework oj several new designers.
A new Anglo-French link-up for producing illustrated articles of a cultural nature
the British and French press has been formed by Jane Tweedy, author and
urnalist, and Countess Marie Bennigson, artist, entitled Quill and Palette
mnership (430 Strand. London W.C.. tel. 01-937 0299).
Above. Originally in the William King Collection (see E.C.C. Commen or-
ative Catalogue, 194H, plate 35, No. 140), this Bow porcelain dish, c. 1
65, 13^ inch diameter, in blue underglaze, iron-red and gildinc h
acquired by the Royal Scottish Museum, Edinburgh, from Me >rs. N
man e» Newman, London.
243
Watercolours from the
Turner Bequest
DENIS THOMAS
Tl 11: publication by the 1 ate Gallery of a selection of Turner's
later watercolours*, reproduced to the highest standards of
commercial lithography, offers an opportunity to study these
extraordinary drawings in .1 version close to the originals. Except
that they are somcw hat smaller than actual size, the plates convey
as true an image of the w atercolours as is technically feasible in a
[look produced tor general consumption. There are twenty-four
of then), chosen from the group exhibited at the f ate, which is
itself but a tiny traction of the 19,000 drawings and sketches from
the Turner Bequest housed in the British Museum. The sheer
inaccessibility of these drawings gives any selection the impac t of
novelty. To browse among them even in mechanical reproduc-
tion is to accept at once Mr. Martin Butlin's assertion that they
are among the most extreme examples of technical virtuosity in
their medium.
I he clarity of I in ner s washes, the translucent overlapping of
shades, are of the essence ot watercolour. They achieve with
apparent ease what lesser men could only strain after: a fusion ot
mood and subject, complete and indivisible. Surely, one thinks,
this can only have been possible- by painting on the spot, by
direct communication between the artist and the landscape in
front of him. C )n the contrary, as Mr. Butlin points out, I timer
very rarely coloured out of doors. Ever the brisk professional, he
said he could do fifteen or sixteen pencil drawings in the time he
would take to finish one 111 colour. Sometimes the watercolours
show traces of pencil underneath, w hich he presumably coloured
over in his studio; and there are pencil versions in the sketch-
books of some subjects which he afterwards developed in watcr-
C< >l< Hll".
I he importance of these drawings to I in ner was purely
personal: not oik of the present selection, for example, was ever
e xhibited in Ins lifetime. ( )ften the drawing seems experimental :
bands ot colour in juxtaposition, or shapes which could he
mountains, trees, shadows, or all three - not ev en the image ot a
stibjec tive reality but a suggestion of it. These draw ings date from
• 1S30S and 1N4OS, when Turner was gradually withdrawing
into Ins inner world, painting visionary statements rather than
impressions ot things seen. Unlike Constable and the Impres-
sionists (as Mr. Butlin has remarked in another ot his Tate
Gallery essays), Turner's starting point by this time was not the
everyday world but the force ot nature underlying naturij
appearances.
These later watercolours seem tar removed from the Poul
sincsquc elegance and respect tor subject-matter on which h
earliest successes were based, and from the finished watcrcoloiffl
spanning most ot his life 111 which a more traditional mastery |
apparent. Towards the end of Turner's career the element {
imagination took over completely. Combined with his uniqi
virtuosity (which he did not always keep 111 check) it enabli
him to create the private shapes, hues and symbols ot an inmc
vision.
Martin Butlin gives some expressive examples of the direct
personal feeling in Turner's later w atercolours: a line ot thuni
prints across the middle ground of his Storm Clouds, Sun
(c. 1825) evokes a physical contact between the artist and 1
medium; the scratched-out whites on the edge ot the shore I
Buildings by a lake 'arouse the tactile sensations ot Tumi
attacking the paper with his "eagle-claw ot a thumb-nail ,' b
sides enlivening the surface of the drawing ami suggesting brig
reflet rions off the w .iter.
The same drawing shows how highly developed Turnci
watercolour technique had become by the 1.N40S: 'Here watc
colour has been dragged, fairly dry, over the surface of the pap
or applied in thin, transparent washes. White areas have bci
obtained not Olll) b\ leaving the paper bare but also by scratl
ing away at the surface of the paper itselt. removing the ove(
King colour. The pigments have also been worked, either wi
the brush-handle or a water-soaked brush, to produce light
tones and textural effects. Other textural effects 111 the red on tl
left may be the result of thumb-prints.
Fuscli told Northcote that Turner's Holy Family was 'like tl
embryo or blot of a great master of colouring'. In the wate
colours of his later period, the embryo and the blot are 11
beginnings but ends.
* Watercoloun (tout the Turner Bequest 1819-1845. Introduction 1
Martin Butlin. The Tate Gallery, /' < js. (Designed by the T
Gallery Publications Department with the text in English, Germ
,uul French and printed by the Cripplegate Printing Compan
London.) Exclusively distributed in the I IS. A. and Canada by the At
Press Inc., New York.
t ■
uildings by a lake, c. 1840-5. W'atcrcolour over pencil, 9 13 inches. Thf Tate t.. tilery, British Museum Turner Bequest.
-4>
International
Saleroom
4
1. Christine de Pisan. / i l.irredes '/Vol's Vertus, r.
1460. IMS 011 vellum .!5<> 2SS mm. (f»< >,< >< >< <
fraiics (Palais (ialliera. Mes Rhcims, Laiirin and
Rhcims). / 1 HR.II.K7.
2. |. R. Cozens. I grotto in the « ~ami>agna. Watcr-
i-iilour i|| 21 inches. Signed. £4,200 (Sothc-
3. Itartholotiicus van IJasscn. I In King and
Queen 0/ h In 1111 1 d;i:ix. 1:1 public in II hiti'haU
waited on l>y Lord Dighy. 24 ' is' inches. Signed
.iikI dated 1634. / , 1 ,?><><> (Sotheby's).
|. Philip IV gold piece, lOOscudos. 1633 Segovia
mint, 334 grms. (Obverse and reverse). £15,500
(Sotheby's).
5. Swiss gold and enamel automaton box,
movement signed A. Rojard a Geneve, No.
2174, 1 1 inches, early 19th century, £5,500
(Sotheby's).
A. Roman marble Aphrodite, r. 2nd century
A.I). Height 49'. inches, £5,000 (Sotheby's).
7. Early Benin bronze belt mask. 7 inches
£4,000 (Sotheby's).
X. Danish silver sugar box from the Nielsci
Serv ice, by Chr. I losoe, Copenhagen, 17S7
10, oiin kroner (Arne Hriiiui Rasmussen). /,l
Kr. 5.
9. Famille-rosc ox-head tureen. Ch'ien Lung
I ength 13 inches. £ 1, 200 (Sotheby's).
246
Intcrnation
Saleroom
Terracotta maquette for the iiioiiiimcnt of
:liolas Rowe by Rysbrack. Signed and dated
o Height 18 inches. ,£5,250 (Christie's).
Ben Marshall. A Light bay hunter. Signed and
ed 1808. 29J x 39j inches. .£7,350 (Christie's).
Meissen chinoiserie tureen, cover and stand.
crall diameter 11 J inches. Blue crossed
ords marks. 120,000 Swiss francs (Christie's,
neva). £i = FR.io.47.
[3. George 111 kingwood marquetry commode.
Original doors missing. Width 46 inches.
£2,700 (Phillips, Son and Neale).
14. Japanese gold lacquer and inlaid mother-of
pearl box and cover. Width inches. £682
(Christie's).
15. Pair 17th -century Venetian blackamoor
torcheres. Height 54 inches. £7,350 (Christie's).
16. J. F. Lewis. View of the street nut mosque of
Ghooreyah, Cairo Signed and dated 1876. 44$ ■
34 inches. £1,050 (Christie's).
17. John E. Ferneley, sen. A memorable run with
the Quorn. Signed and dated 1835. 36 x 59
inches. £9,975 (Christie's).
18. Philip James de Loutherbourg. The Boa ■ t>j
Camper down, 171)7. Signed and dated 1799. ')
84 inches. £15, 750 (Christie's).
-47
International
Saleroom
19. Anthony van Dyck. The Madonna and Child
with V. Anne. 27 21 j inches. £21,000 (Sothe-
by's).
20. Thomas Robins the younger. Blue African
Lily and Purple Coronilla. Signed and dated 1787.
•lour with body colour 14 > 9§ inches.
<
21. One ol ■ in George III satinwood and
marc|iietry <;iru tables in the style of William
Gates. Width 40 inches. £6,300 (Christie's).
12. Pair Louis XVI dog and cat chenets by Dis-
nematin. om 37 0111 245. 58,000 francs (Palais
Galliera. Mes Ader, Picard and Ader). £1
FR.II.87.
23. Waghenaer. Speculum nauticum super
navigatione maris. 45 maps. Contemporary
colouring. Leiden 1586. ,£8,500 (Sotheby's).
24. Set of three George I silver casters by
Thomas Bamford, 1720. Maximum height 8
inches. £2,700 (Christie's).
25. J. W. Carmichael. H.M.S. Victory ana
squadron anchored in the Bay of Naples. 40
inches. £2,250 (Coc and Sons).
26. Giovanni Uattista Piranesi. Vedutc
Roma. Album of etchings. £1,365 (Christie')
27. South Staffordshire chinoiseric opaque gl
vase. Height 7 inches. £682 (Christie's).
28. One of a pair of Alcora faience wall plaqn
Height 21 inches. £760 (Sotheby's).
248
Intcrnatiori
Saleroom
29. Victorian diamond tiara necklace. £2,900
(Sotheby's).
30. Henri Matisse. N11 assis. 0111 45 0111 36.
167,000 francs (Palais Galliera. Mes Ader,
Picard and Ader). £1 = FR.11.X7.
}I. Set of three Mortlake tapestries of The
Battle of Solebay. Average height 12 ft. 7 in.
£13,650 (Christie's).
32. From the Ryall collection of Wine Labels.
Approx. 2,000 sold in 1H0 lots. .£17,037 (Chris-
tie's).
33. 'Girl in a swing' dancing girl. Height 5$
inches. £7,000 (Sotheby's).
34 Tom Ti-.umb's coach, f. 1K43. Height 38
inches. £577 (Christie's).
36
35. Staffordshire lilac castle pastille burner.
Height 9A inches. £100 (Sotheby's).
36. One of a pair of mid-l8th-century painted
Venetian cupboards with commode en suite.
£5,000 (Sotheby's).
-49
Books Reviewed
Connoisseurship and the Herberts
PAINTINGS AND DRAWINGS AT
WILTON HOUSE: A ( ataloguc compiled
by Sydney, Earl of Pembroke. (Phaidon 90s.).
C^ONN( MSSEURS1 IIP, a lively appreciation
>and understanding ol the arts have long
been hereditary faculties in the Herbert family;
sun c the reign ol I lenry VIII owners ol Wilton,
.{ house which ranks high among the major
achievements ol English domestic architecture.
The pictures and furniture, which have been
gradually accumulated through successive
generations, are in every way worthy of the
house.
The present owner, the 1 6th Earl of Pem-
broke, a dedicated and informed custodian ol his
splendid inheritance, has now published a cata-
oguc ol the w hole collection ol pictures, ceiling
paintings, mural decorations and draw ing ; in the
preparation of which he has been engaged for
many years. The catalogue produced 111 1907 by
Sir Neville Wilkinson, a distinguished I lerald
but with no other qualifications lor the task, was
almost (an ically inadequate.
The Tudor and Early Jacobean portraits may
be assumed to havi perished in the disastrous
lire of 1647, and the founders ol the present
great assembly of pictures nearly 2So, leaving
aside the decorations and a long series of haute
v(ole 111 gouache, still remain were William the
?rd Far! and his brother, Philip the 4th holder ol
the title and Lord Chamberlain to ( harks I.
I le was 'the bail who betrayed his master", and
by betraying him, it we accept that severe
judgement, saved Wilton, opening way, des-
pite diminished resources, tor tin- reconstruction
ol the ruinous house by Inigo Jones and |ohn
Webb. To him arc owing the Vandykes, the
great 'family piece' and portraits ol other mem-
bers ol the (dint, an assembly unrivalled 111 a
private house; though main' ol them, unlike the
matchless pictures by Vandyke in the possession
ol the Crown are unhappily 111 an indifferent
state, and three ol the group have been liiinly,
and apparently irrefutably, disallowed as
originals by Mr. Oliver Millar, who has in-
dicated in The Burlington Magazine (June lyfiX)
where the prototypes may be found. Van de
I )oort's invaluable catalogue of the royal collec-
tion records that Charles exchanged the price-
less 'little St. George' by Raphael (now in
Washington) lor the celebrated 'bookc of Hol-
bein's drawings', but soon alter the end ol the
Civil War the drawings were sold. Besides that
'St. George', a list of Earl Philip's pictures
drawn up in 1636 credits him with the pi >sscssion
of works by Titian, Corrcgio, Giorgione,
Andrea de! Sarto, |acopo I'alma, Bassano (the
member of the family not specified) and Tin-
toretto; all the n at Durham I louse, oil the
Strand, and 'most or all to be sold'.
The next outstanding ac c essions after this sale
(from which the family Vandykes escaped) were
eight pictures presented by the Grand Duke of
Tuscany, Cosimo III, when on a visit to the sth
Earl at Wilton. Five still survive, two being by
Andrea del Sarto and Parmigiailino. The Grand
Duke could not be accused of parsimony even
if, as Lord Pembroke suggests, he thought the
pictures he brought with him could well be
spared. The spendthrift 7th Earl had nearly as
many pic tures as there are at Wilton today, but
the inventory of 1683, while estimating their
values, is niggardly of information as to what
they were. I lis brother Philip, who succeeded in
that year, restored the family fortunes, and in the
course of his long life with lavish outlay and
some assist. line from a prominent connoisseur Sir
Andrew Fountaine, made Wilton a veritable
temple ol the arts. I le formed 'a huge library', a
famous collection ol coins and medals, and
bought hundreds ol pieces ol ancient sculpture.
This Earl lor the most part concentrated on
Italian painting ot various si hools and according
10 Count Carlo Gambarini, who compiled the
lust catalogue in [731 shortly before lord Pem-
broke's death, he did not greatly increase the
total number but 'changed' < lerman and Flemish
works for Italian, securing not only main'
piilures by masters but aiming also at the re-
presentation of 'the chiet disciples ot each school'.
Gambarini took the attributions from Ins em-
ployer and some ol them erred on the optimistic
side. It was this Earl who .11 quired the 'Wilton
Diptych' now in The National Gallery and the
early Rembrandt ('Portrait of his Mother'). The
yth, commonly known as the architect Earl,
in. nub patronised English contemporary artists,
Lambert and Samuel Si ott, but Wilton is indebt-
ed to him for the splendid Rubens 'Landscape
with a shepherd'. The loth Earl, a colourful,
flamboyant character, patronised Reynolds, and
to linn are owing the nine portraits in fine con-
dition still in the house.
I he i ollei lion contains a number ol master-
pieces, to which the Sth Earl made notable con-
tributions; though many pictures ol conse-
quence are listed as being at Wilton when Gam-
barini drew up his catalogue in 1711, and may
thus have been acquired before that Earl suc-
ceeded. ( kitstanding among the pic tures and
enough to make a reputation lor any collection
is the l.uc as van Leydcn 'Card Players' (illus-
trated in two colour plates), the Rubens land-
sc ape. the Van de < Iocs 'Adoration', the 1 orenzo
Lotto 'St. Anthony the Hermit' and the Tin-
toretto 'Christ washing the Disciples' Feet', a
deeply moving work.
I old Pembroke has set an admirable example
lo other owners by judicious cleaning and main-
tenance of the collection, lie is thrifty with
documentation, bach entry is preceded by a
succinct account of the painter's career; brii
descriptions and notes follow with the provei
ances and lists ol versions, wliile the space allotte
to 'Literature' is briefer still. The production
worthy of The Phaidon Press. — R.E.
BEA RDSLEY: By Brian Reade.withan intro-
duction by fohn Rothenstein. (Studio Visi.
£6 6s.).
BEA RDSLEY, a biography: By Stanle
Weintraub. (W. II. Allen, 35s.).
If Aubrey Beardsley has suffered a long perio
ol neglect and misunderstanding in the past, tr
balance has now been redressed, possibly to tl
point of over-compensation. In the wake of tl"
Sir Kenneth Clark lecture, the Victoria an
Albert Museum Beardsley Exhibition and all th'
recent literature concerned with Art Nouveau i,
which this artist's work features with justifiab
prominence, we have these two contribi
tions to Beardsliana. fortunately their respectiv
approach is so different as to eliminate con
petition. The Studio Vista book with an ei
larged chapter-heading design from Lc Mor
tl'Artluir on the cover and a full representation ('
much Beardsley work never previously seen b
the public is, as a production, hors contour
whereas, Mr. Weintraub's biography contait]
only a token inset of the more familiar lllustr.
tions. Nevertheless it constitutes a most usefi
and fascinating complement to Mr. Reade
aesthetic and psychological analyses of Beard1*
ley's vast output in which he discovers constant
with unerring percipience. Sir John Rothci
stein's contribution to tliis book is as welcoml
as the appendix reprint of the Max Beerbohif
appreciation (Mr. Beardsley s Fifty Drawings) i,
the other.
few artists can have known such a bewilder,
ing alternation ol encouragement and set-bac|
in so brief a life-span as Aubrey Beardsley. Th(
£500 iegacy, which afforded him the oppou
tunity of escaping from England and an over!
dose of Pre-Raphaelitism to Paris where the i nil
pact of Toulouse-Lautrec posters, pages of th*
Revue Blanche and stimulating encounters (e.a
with Puvis de Chavanncs), made this the inos
fortunate single factor in his aesthetic developj
mcnt. Of the vic issitudes of Beardslev's life Mil
Weintraub writes sympathetically but not witlif
out witty comment such as this, apropos thl
Yellow Hook and William Watson's cable tt
[ohn fane: 'Withdraw all Bcardsley's designs o|
I withdraw all my books' — 'this was the onH
line of Watson's work which had remained
memorable', following this blow came the in
cscapablc realisation by this now prince op
dandies that his days were numbered. As th'
cruellest of jibes expressed it 'even bis lung
were affected'. Working desperately agains
250
:ime on his I 'olponc illustrations for Smithers he
;ndcd life as one of the great martyrs of art.
To return to Mr. Reade's book, one is par-
ricularly grateful for the full and informative
comments on each of the plates reproduced and
:he scholarship and enthusiasm they reflect. It is a
must for the Beardsley specialist. — W.J.S.
MODERN SILVER THROUGHOUT
THE WORLD 1880-1967: By Graham
Hughes (Studio Vista. £5 5s.).
J MR. GRAHAM HUGHES, art director of the
Goldsmiths' Company and chairman of the
Crafts Centre of Great Britain, has written the
first book on modern silver. In so doing he has
provided an indispensable link in the chain of
literature dealing with this section of the applied
arts. It is now possible for the general reader to
trace the development of design and silversmith-
ing all over the world from the late nineteenth
century, through the turn of the century, to the
present day.
The biographies of both the silversmiths and
the leading retail firms are highly interesting and
would only be improved if the makers' marks of
the former had been shown in order to assist
collectors in recognising their work. The field
for collectors is a rich one as many examples exist
which are unrecognised and therefore under-
valued.
The plates, some of them 111 colour, are
extraordinarily good and form .1 continuous
spectacle of the development in silver design.
and the changes, in this ninety year 'modern'
period. It is a period of far greater creative
activity than is perhaps generally realised and it
is at its height today. The ingenuity and skill of
contemporary craftsmen is at least equal to that
of their predecessors and anyone who doubts
this should read Mr. Hughes's book and draw
inspiration from it. — E.L.C.
CONTEMPORA R Y JAPANESE PRINTS :
By Michiaki Kawakita. Translated by John
Bester. (Kodansha International Ltd. in con-
junction with Ward Lock & Co. Ltd.
£10 ios.).
WE have had in recent years several good intro-
ductions to the modern Japanese print by
western writers — Oliver Stadtler's 'Modern
Japanese Prints — An Art Reborn' of 1956 is the
fullest and most readable account — but the
Japanese viewpoint has not been readily available
111 translation, and Michiaki Kawakita's short but
thoughtful text to this new and handsome
anthology of reproductions sums up the attitude
of the Japanese protagonist. Kawakita endeav-
ours to explain why the 'creative print' has
attracted more international attention and
acclaim than modern Japanese painting and
sculpture. After touching on the pre-disposition
of the west towards the modern print simply
because of its admiration tor the earlier Ukiyo-e
print (a line of reasoning not wholly to be
ignored since collectors of Ukiyo-e, like Mr.
Muhener, tor instance, have sometimes added
contemporary prints as if they were a natural
extension to the collection); the possibility
the print owes something to the boom in ill
things Japanese since the war; and its transport-
ability and cheapness compared with paintings
he concludes by maintaining that it owes its
special success to the fact that Japanese artists
can better express their own native genius
through the medium of the print, the woodcut
particularly, than they can in other media,
where there is always an almost inescapable
temptation to imitate foreign models.
In dealing with the history of the Japanese
print, Kawakita helps us to an understanding of
the artistic schizophrenia that contact with the
west gave rise to in the Meiji period (from iX^.S
onwards), the stress between those who felt it
imperative for survival to imitate all things
western, including the arts, and those who
wanted to keep alive the traditional arts of the
culture in which they had been bred. He sees the
cause for the demise of the Ukiyo-e print as a
work of art in its 'immensely elaborate but
essentially primitive technique of reproduction
— competing with Western photographic paint-
ing. It lost the unequal contest, and with it its
last raison d'etre'. Following Kawakita's argu-
ment, it is easier to understand the admission
that today 'certain "intellectual" Japancsetend to
feel uncomfortable in the presence of anything
excessively Japanese'. The cross-influences of our
two cultures have been responsible for other
curious developments in thought and art: it
seems tor instance, almost ironical that Saito, one
of the most consistently successful of modern
Unique in the world of art books
DRAWINGS
IN THE LOUVRE
The great Drawing Collection in the Louvre, to be viewed important drawings in their immense and magnificent
only by special permission, is the repository of many of the collection lint have also made it possible for these to he
most famous drawi ngs m the world. Now, for the first time, exhibited in three splendid volumes that reproduce faith-
the curators of the Louvre's Cabinet des Dessins have not fully the finest drawings of the French, the Italian, and the
only made a selection of w hat they consider the most German, Flemish and Dutch artists over some six centuries.
The French Drawings The Italian Drawings
Selected and Introduced bv MAURICE SERULLAZ
Selected and Introduced bv ROSELINE BACOU
The German, Flemish and Dutch Drawings
Selected and Introduced by ROSELINE BACOU
Each volume 224pp ll1" X c>|" Gft productions in full colour and 32 reproductions in two colours 120/-
, CASS ELI
-51
Taste
You cannot
argue about
taste
Taste is a
matter of individual
preference.
Yet in the eighteenth
and early nineteenth
centuries there was
'an apparently
general
agreement
upon what
constituted
correct
taste%
and which as a
result produced some
of the most beautiful
things ever made in
England.
John Steegman
discusses
the period from
George I to
George IV
looking at the
artistic products of
the age
from
Hampton Court Bridge
to Wedgwood box-lids,
and at the society
that was capable
of living with
the peculiarity
of artistic
uniformity,
in his now
famous book
The Rule of
Taste
i
printmakcrs, should affirm his indebtedness to
( iauguin, who was unquestionably influenced by
the Ukiyo-e print, which Saito wholeheartedly
rejects.
The two-dimensional style enjoined by the
proper use ol the woodcut is natural to the
|apancsc by tradition: moreover, their sense ol
c olour and texture is given lull scope in the over-
printing ol limpid colours, in the use of the
grain ol the wood, in evoking the surface ol the
wonderful papers available to them, and in
diversifying that surface with the sheen of mica
or lac quer, or the rough coruscation of metal
dusts. The illustrations to this book, good as they
arc, cannot possibly convey the whole gamut of
such technical expedients, nor do they have the
impact made by the prints themselves in their
original size most of those illustrated .are
several times the si/e ol the reproductions.
Nevertheless, the 47 colour-plates and the [03
monochrome illustrations are well-chosen and
give a good notion ot the variety and originality
ol the work ot the 'creative print' artists in the
last lew dec ades.
A word should be said in praise ol the trans-
lation by Mr. John Bcster. It is rare indeed to
have a translation from |apatiese which is wholly
lice from unresolved ambiguity and marked by
a relrcshing readability. — J.H.
ORDERS AND DECORATIONS: 15 y
Vaclav Mcricka. (Paul Hamlyn Ltd. 63s.).
UNLIKI. most other series available to the
collector the collecting ot orders ol chivalry has
only fairly recently seen an expansion in the
numbers ol collectors, most ol whom reside in
the United States, Great Britain or Europe. It is
thought that as other works ol art or collectors'
pieces become exhausted or beyond the reach ol
the majority of collectors, the collecting of
orders will be even more popular than in the
past. I Ins expansion is being helped by a number
ol books recently produced on the subject, not
least of all Mr. Mericka's tine book.
( 'iclcrs ol Chivalry have always incorporated
the- fines) ol the goldsmith's art and, combined
Willi line enamels and silk ribands, produce a
wonderful c olour. una' ; consequently no pub-
lication can hope to succeed unless it incorpor-
ates .1 reasonable number of illustrations. Mr.
Met ic ka has c ertainly given this particular point
very careful consideration as over 200 pages
have been devoted to lifesi/e illustrations, the
majority ol which are in colour. In fact the
choice ol items depicted is to be admired, main
of these are from line international collections or
are the actual insignia awarded to sovereigns and
historical figures of the past, such as Field
Marshal Charles Philip, Duke of Schwarzen-
berg, the ( lommandcr of the allied armies of the
coalition against Napoleon in the years 1813-14.
Amongst these illustrations are the Great Eagle
of the Emperor Napoleon, his Legion of
Honour of i8ll and also such rarities as the
Legion of I lonour of the Bourbon Restoration
and the Order of the I Ioly ( ihost. The collection
ol hue Mexican orders illustrated were the
personal possessions of the Emperor Maxi-
millian.
This book, by means of its illustrations aloni
acquaints the reader with the beauty of fine ir
signia, both rare and the more easily foun
items. Unlike most publications of this natui
which devotes considerable space to detaile
description, the author's text is mainly devote^
to tracing lor the reader the interesting origin
development and history of insignia and aware
Iroin the Creeks and Romans, through tl:
religious orders to the modern state awards <
today.— E.C.J.
BOOKS RECEIVED
Arcliitecturology. An Interim Report: Hi
I. M. Goodovitch. London: George Allen
Unwin. 4 ss.
William Davison of Alnwick. Pharmaci
and Printer 1781-1858: By Peter C. G. Isaa
London : ( )xford University Press. 45s.
Christmas: By William Sansom. Londoi
Weidenfeld & Nicolson. 63s.
Buckingham Palace: By John I larris, Geoffrc
de Bcllaiguc and Oliver Millar. Introductic.
by John Russell. London: Nelson. S gns.
The English House Through Seven Cei
turies: By <■ 'live Cook. Photographs If
Edwin Smith. London : Nelson. 7 gns.
Royal Treasures: Edited by Erich Steingrabc
London: Weidenleld c\ Nicolson. S gns.
Batsford
Water-colour
Painting in Britain
III The Victorian Period
Martin Hardic £0 6s
The publication in January ot this volun,
will complete Martin Hardie's trilogy. Tl
previous volumes are :
1 The Eighteenth Century
1 1 The Romantic Period
Pistols
of the World
Claude Blair £S Ss
The pistols ol every period from the fou,
tccnth century to the end ol the ninctecnt
and ol every country, East and West, a
covered In- tins book. Both in its range 1
pictures - over 1,000 - and authoritative tc:
the volume provides a permanently valuab
work ol reference. Prospectus availah
It. T. BATSFO HI) I I I)
4 Fitzhardingc Strcrl London Wi
2 < 2.
The American Connoiss
Jordaens and Canada
JEAN SUTHERLAND BOGGS
THE interest of the Nation. il Gallery ot Canada in [ordaens
seems to have been stimulated by I ondon's two great
auction houses. At the Reitlingcr Sale in 1954 at Sotheby's it
bought its first work by tins Flemish seventeenth-century
painter, a chalk and w ash drawing which is a study for a wall
decoration, probably for fordaens's own house in Antwerp. And
it was at Christie's m May of 1965 that it made its important
purchase from the Spencer-Churchill Collection of a Young
Cavalier (w hich is often called the Education o) a Prince). I he
possession of that vividly-coloured painting made the Gallery
curious about the artist. A year after its purchase it asked Mr.
Michael |aftc of Cambridge University to undertake a retrospec-
tive exhibition of his work, the results ol which are onl) to be
seen in Ottawa until |anuarv s, !<;'><;.
Mr. |ahY w as so persuasive with borrowers that the exhibition
has 314 works. Fifty-three of the 11s paintings, seventy-four
ot the 1 58 drawings and all but one ol the eleven tapestries have
never been exhibited before. Some are works which, like' the
Portrait oj Joannes de Marschalch in lus Ulerenth Year in Kansas ( "it\
or the Young Huntsman Resting with his Dogs from the lirukenthal
Museum in Sibiu, Rumania, were tust attributed to |ordaens by
Mr. |afie'. One of the most satisfying loans is of a dramatic /\\mi/
to Calvary from the Society of |csus; it is a painting almost eight
feet high which was placed in the Franciscus-Xavierskerk in
Amsterdam probably about 1657. There are altogether i;i
lenders, thirty-one of them private collectors.
The exhibition developed around Ottawa s acquisition of the
Spencer-C '.hurchill )\uiii<j (.bawdier. Because it is a cartoon for a
tapestry it w as dec ided that (ordaens s interest in series of tapes-
tries should be reflected in the exhibition. As a result there are
eleven. I ler Majesty Queen Elizabeth II has lent one from 1 loly-
roodhouse, the Musccs royaux d art ct d'histoirc in Brussels one
(No. 1) and the Kunsthistorischcs Muse tun in Vienna, with great
generosity, six.
The Ottawa painting was a study for .1 tapestry in the series of
eight known as The Riding Academy w hich Mr. [affe believes was
projected about 1645. Vienna has lent that tapestry and two others
from the same series. One ot them is a decorative landscape
dominated by a buffoon-like hunter, blowing his horn, and his
dogs. The painting, which was clearly the basis for this tapestry,
is also in the exhibition; it is from the Musee des Beaux-Arts in
Lille and is dated an earlier 1635. Doth tapes, < y net painting, in
their love ot countryside, dogs and even bufloi x ''ggest one
of the first sets of tapestries (ordaens designed: the Scenes of
Country Lije which he would have worked upon between ir^y
and [630. In tact there is even another Huntsman Resting with his
Hounds which 111 this earlier set is first in the sc ries. T he Victoria
and Albert Museum has lent .1 large and tree- brush drawing for
this composition.
Kyi
1. Gentleman Playing the Lute for liis Lady, No. 4 of Scenes of Count) a
designed c. 1617-30. Tapestry, 147} n(> inches. Musccs royau . d'
d'histoirc, Brussels.
254
fordaens saw nature with the keen and greedy eye of the hunts-
Ian. Sometimes he emphasized its spoils as he did in the Kitchen
\kne of the Country Life tapestries, in which geese, venison, a
; acock, fruit and vegetables are spread out temptingly before a
in and a woman, a dog and a cat. The exhibition has two draw-
Jigs for this tapestry, one from the Ecole des Beaux-Arts in Paris,
other, which Mr. Jaffa was the first to identify as |ordacns,
mm the Home Foundation in Florence. On other occasions the
winter's eye seems to have been less predatory and even gentle as
| was in the chalk drawing of a goat from the Yale University
•t Gallery. The almost romantic attachment to the hunt and its
oils is apparent in the exhibition in two large paintings which
rdaens must have used to decorate his house; one is the Youth-
' Groom Holding a Horse, formerly in the collection of Sir
shua Reynolds and now in the collection of the Master of
innaird which has never before been published or exhibited;
e other is a Young Huntsman Resting with his Dogs and Boo oj
dine which Mr. |afte has given to (ordaens and which comes
am Sibiu in Rumania. Clearly this painter also responded to the
tion around the hunt as w e can see in the watcrcolour and chalk
' awing of a Groom Leading a Horse (No. 2) from the collection of
e Marquess of Northampton at Castle Ashbv. This vigorous
I awing, which vibrates with the movement of the youth and
! jrsc, is, according to Mr. faffc, contemporary w ith the Country
\:fc tapestry series; that is before 1 f 129. It possesses [ordaens's
jmewhat earthy humour in the reaction of the horse to the dog
the lower left corner.
The Marquess of Northampton s drawing brings up another
pect of [ordaens's work — the architectural enrichment of his
ndscape. In this draw ing w e even havetwo alternativecolumnar
hemes to the left and to the right of the arch. It may have been
xause he so often worked tow ard tapestries or other decorative
(hemes (No. 3) that he used architectural motifs for their decora-
be qualities. Although these motifs are always tullv baroque,
dth an abundance of detail, they do supply some suggestion of a
fertical (and occasionally horizontal) framework which would
id some stability to the decoration of a w all.
I The extravagance of his architectural interest is apparent 111 the
[wrth tapestry in the Country Life series: a Gentleman Playino the
lute for his Lady (No. 1 ) ; certainly here the ebulliance of the motifs
lee more conspicuous than their tectonic order. I hex seem
Inmate and even in action. One could argue that |ordaens
bught a similar decorative purpose tor the fabrics (particularly in
he carpet thrown oxer the balustrade) and even tor the parrot
pa the poodle. Whatever his intentions were, he clearly loved an
pundant world.
I Mr. |.iffc points out 111 his catalogue that there is some analogy
|ietwccn this tapestry and the great Portrait oj A. van Zurpelen and
I is Wije which the London National Gallery is lending to the
ichibition. That imposing (almost seven-foot high) double por-
:ait is more restrained but it does have an archway, a white
oodle and a parrot which are ornamental. This London painting
;an remind us how effective [ordaens is as a portrait painter ; there
iialso in the exhibition the magnificent Portrait oj on Elderly Man
f 1641 from the Thyssen Collection as evidence of it. Indeed, to
'eturn to the tapestry of the Gentleman Playing his Lute for a Lady,
here are portraits by |ordaens closely related to this lady; one is
he Young 1 1 Oman in a Plumed Hat(No. s) here illustrated 111 colour.
Ince it must have been painted a decade after the cartoons were
reparcd tor the tapestry, we are led to realize that the rescmbl-
nce is a superficial one of the similar fichu and hat. [ordaens's
ijoyment of prettily clad, attractive young women lasted more
fun a decade; it persisted through the more than forty-five years
'f his painting career.
3. Design tor Wall Decoration, c. 1640-45. Black and red chalks with brown
wash, 7, 10 inches. Fitzwilliam Museum, Cambridge University.
4. Girt Standing with tier Pel Finch on o Terrace (Anna Catherine Jordacns),
f. 1635. Oil on canvas, 52! 44] inches. Trustees of the Warwick Re-
settlement (permission of Lord Brooke).
-55
5. Young Woman hi .1 Plumed H.if (Elizabeth Jordaens), r. 1640; oil on
canvas, 31 1 24, inches. Herr Heinz Kisters, Kreuzlingen, Switzerland.
I his Y011110 1 1 'oman 111 ,1 Plumed Hilt illustrates another aspect of
tins painter's work, and that is his affection for his family. The
voting woman is in all probability his elder daughter, Elizabeth,
who was bom 111 1617 and who posed for other pictures by her
father, including a portrait holding up a medal from the Aka-
demie 111 Vienn.' and the somew hat compromising ( )/,/ Man and
\ 0111i\l Woman with a Parrot from the collection of Mrs. George
Kaufmann in New York, both of which are in the exhibition.
|ordaens's family feeling was as generous as his view of the world.
I he Hermitage is lending a w ork which (ordaens may have
painted to celebrate his entry into the Academy of St. Luke in
[61s; it shows the painter, his parents, his live living sisters, his
two brothers and, flying above them, the souls of three sisters,
who had died as infants. About if>K>, the year of his marriage to
Catharina van Noort, he painted his bride ami himself with the
van Noort family; Kasscl is lending this work, lie frequently
used his in-laws, particularly his father-in-law, Adam van
Noort, as models throughout his life.
( )ne of the more endearing family portraits in the exhibition is
<>f his (laughter Anne Catherine. It is tailed Portrait <>/ 1; Girl
Standing with her Pot Finch on a Terrace (No. 4) and is lent to the
exhibition by the Trustees of the Warwick Resettlement
'li the courtesy of Lord Brooke. Anne Catherine stands
onscioiisly 111 her elaborate clothes, a bell at her waist, a
cross hanging from the corals around her neck; she has her pet
goldfinch on .1 string. Her father painted her affectionately and
convincingly.
(ordaens seems at his best (or at least his most independent of
his famous contemporaries in Antwerp, Van Dyck and Rubens]
win 11 he draws upon that family feeling in his religious oil
historic works. Essentially his imagination is pedestrian which cat]
make his interpretations of a complex mythological figure like!
Bacchus agreeably amusing; in the exhibition there is the Injata
Bacchus from Warsaw, the Triumph of Bacchus from Kasscl "and
the drawing of Bacchus after Rubens from the Rhode Island
School of Design Museum. I lis interpretations are often urn
expected. In Tournai's (Christ and Two Disciples with Mary am
Martha Christ and the disciples are received by a gracious ant]
sumptuously-dressed Mary 111 a baroque drawing room. Witl!
scenes more closely paralleling those 111 his own family Jordaeni
was perfectly at ease. A certain bourgeois formality may pervatW
the Madonna ami Child Visited by the Child St. John and Hi
Parents (No. 6) as Zacharias, Elizabeth and. the small St. |ohn, witl
his lamb, approach the Madonna who is holding the Child as shj
sits in her throne-like, wicker chair. Nevertheless Mary is sa
wholesome and the Christ Child so animated, as he looks at th|
goldfinch which has been released from its cage on a string, tha
it is a warming picture. Perhaps even tenderer, because it is mor]
informal, is the drawing of the Interior with the Holy Family am
Attendants (No. 7) from the Ashmolean.
|ordacns never travelled. The only world he knew wal
Flanders. It is consistent that his work should have rcmaineJ
robustly and often coarsely flemish without that cosmopolitanism
which w as essential to the work of both Rubens and Van Dyckl
It w as therefore natural that he should have been attracted by thj
publication of f lemish proverbs by Jacob Cats in 1632; tapestric
were commissioned from him on this theme 111 1644, and en
gravings were made from some of his studies. The exhibition i
fortunate enough to be able to bring together a pair of painting
of the two proverbs we remember best in [ordaens's work, 'Th
King I )rinks', and 'As the Old Sing, so the Young Twitter". Bot
were bought by |. B. P. Lebrun ami passed on to Louis XVI; 'A
the Old Sing' w as transferred to the Musc'e de Valenciennes fror
the Louvre; the other is still in the Louvre.
Of 'As the Old Smg', there arc two other paintings gcnerousl
lent to the exhibition; one from the Schloss Charlottenburg i
Berlin, w hich was once in the collection of Frederick the Grcai
and the other from the Earl of Wcmyss and March. In thes
paintings |ordaens's familial feelings once again assert themselves
and his father-in-law, his w ife and his daughters can usually b
detected 111 them. In the Berlin version Elizabeth is particularl.
radiant. On Lord Wcmvss's version there is an inscription 'DiJ
Geusen' which Mr. |affe tells us in the catalogue means th
Huguenots and suggests the work is intended to celebrate th
recent triumphant victory over the Huguenots; this is ironic i
the work of a painter who was to become a Protestant. There ar
five (.h aw nigs on this theme in the exhibition from Hamburg
Besancon, Leningrad, Edinburgh and Rotterdam. This last, fror
the Boymans-van Beuningcn Museum in Rotterdam (No. 8*
may be a sketch for the first tapestry in the Flemish Proverbs suite
Lor 'The King Drinks' there are three drawings, one fror
Kans.is City, a black and red chalk head tor the King based o
(ordaens's father-in-law, Adam van Noort, which the Fitz
William is lending, and a large and full compositional study fu-
tile engraving which comes from the Koninklijk Museum voo
Sc hone Kunstcn in Antwerp (No. 1;). In addition engravings afte
both 'As the ( 'lid Smg' and 'I he King I links' have been lent b
the Metropolitan Museum. All are lull of the optimistic ani
irrepressible vigour of (ordaens,
Throughout the exhibition major paintings are, like 'The Kin:
Drinks' and 'As the OKI Sing', supported with related oi
s6
, The Madonna and Child Visited hy the Child St. John and his Parents, c.
)I5-l6. Oil on canvas, 45 56 inches. North Carolina Museum of Art,
.aleigh.
. Interior with Holy Family and Attendants, c. 1620-25. Red and black chalks
ad wash, 14 1 19 ' inches. Ashmolean Museum, Oxford.
-ketches, preliminary studies, resulting tapestries and engravings,
)r postscripts by the artist. The exhibition is as lavishly con-
nived as [ordaens himself would have wished. Lenders have been
.mbelievably cooperative in making it possible. Behind it is the
industry and the scholarship of Mr. Michael JafFe who has also
produced a fully-illustrated, exhaustively documented catalogue
(published in separate F rench and English editions) which in-
cludes eleven unpublished paintings, thirty-one unpublished
drawings and
exhibition wil
one unpublished
continue to live
tapestry. W
ordaens
257
9. The King Drinks, c. 1645. Black chalk, pen and brown ink, watercolour and body colours, 14; 21 \ inches. Koninklijk Museum voor Schone
Kunsten, Antwerp.
\ find of Elizabethan ale
glasses
^UR knowledge of mediaeval and sixteenth-century English
ohvss is still very restricted and it is therefore a moment for
ejoicing when archaeological discoveries are able to throw new
light into the darkness. Building excavations in Honey Lane
[iarket near Cheapsidc resulted in the discovery of a number of
Tudor, walled refuse-pits which were carefully investigated by
ttchaeologists from Guildhall Museum. Although nearly all the
jits contained fragments of glass only one held specimens of
outstanding interest. This pit was filled soon after the year 1600
ttid yielded a quantity of Elizabethan pottery and a small
aumber of t al ly clay tobacco-pipes, all of which helped to date
the pit — and the important glass that it contained.
Late sixteenth-century glass of fine quality, imported from
Venice and from the Low Countries en /</fi>// de I 'enise, is com-
paratively well represented in British museums and private
collections. But the cheaper products of our own glass-houses arc-
few and far between. They made no claim to be works of art,
IVOR NOEL HUME
were purely utilitarian and were easily replaced. Familiarity bred
contempt, with the result that when fashions and production
techniques produced new designs the old were soon forgotten.
The glasses from the Honey Lane pit are of a type that was
common during the closing decades of the sixteenth century but
which died out early in the seventeenth. Although there were
fragments of approximately halt a dozen ale-glasses in the
deposit only one could be reconstructed from base to rim
(No. 1). The bowl of another w as luckily intact, although its foot
was lost (No. 2), while a third was represented by rim and base
fragments (No. 3) and clearly belonged to the same class as its
companions. The metal is a pale bluish-green in the first and
third examples, but in the second it is thicker ami of a dull green.
All three are somewhat bubbled, but not sufficiently to be dis-
tracting, for the blemishes are hidden by the bowls' moulded
decoration. The first and second glasses are ornamented with a
multiple dimpled moulding that dies out before reaching the
1. Pale green ale-glass from the Honey Lane
group, with moulded ornament and incurved
rim. Height 1S.25 cms.
2. Intact green ale-glass howl with m<
dimple ornament. Existing height I \.2
Irrom Honey Lane.
259
3. Base and rim Iratmii nls from fine, preen wrythen alc-glass mounted on
sketched reconstruction, Ih-i^lit approx. 17 cms. From Honey Lane.
rim. TIk- wrythen decoration of the third glass, on the othc
hand, extends to within a centimetre of the top. The bases pro-
vide excellent examples of a simple technique, for the entire glas
was made in one piece. The bowl was blown, constricted toward
the bottom, while the bubble was extended to form the foot
I Ins smaller bubble was then attached to the pontil-iron ant
pushed back into itself until it protruded up beyond the con-
striction. The foot was tooled out and the two thicknesses of glas
fused together, leaving a hollow ring that has the appearance o
a normal folded foot.
Fragments of similar ale-glasses had been found on a numbe
of Elizabethan glass-house sites in England; but nowhere hac
sufficient pieces been found to permit a whole <dass to be re-;
paired. 1 lowcvcr, fragments from .1 glass-house site at Wood-
chester were used as a basis for a series of reconstructions tha
w as manufactured by [ames Powell & Sons prior to the Seconc
World War. I hose copies differed from the new finds m that thi
rims were made to spread outwards giving the glasses a trumpe
form. When it was discovered that the Honey Eanc glasse
thickened and turned slightly inwards at the rim, Mr. |. N
Taylor, Curator of the City Museum, Gloucester, very kindl)
offered to send the Woodchcster rim fragments to the writer foi
comparison. When they arrived it was found that some of then
did, in fact, show a tendency to incurve.
At first glance the problem of whether the rims turn slightly ir
out or may seem of little consequence. But apart from the faci
that it makes a very considerable difference to the shape of tin
s^lass, it also raises the question of their origin. Where was the
glass-house from w hich the London glasses, came and who were
the people who worked it?
In an attempt to answer this question it is necessary to pause
and consider the state of the English glass industry in the lati
sixteenth century. The glassmen of the Weak! whose families hac
emigrated from France in the thirteenth, fourteenth and fifteenth
centuries, were finding that their business was being stolen by,
Lorraine glass-makers introduced into the district by one [earn
("aire of Antwerp. In [567 this promoter obtained a licence tc
manufac ture window-glass 111 the Weald, but it is clear that he
also produced vessel glass 111 the styles that his imported
workers had been making on the Continent. Carre s influence
was short-lived, for he died at Altold in 1 572. Soon after his1
demise the old Wealden glass-making families made efforts to
oust the newcomers, and allying themselves with the iron-
workers who resented the Lorrainers' inroads into their timber
fuel supplies, they soon achieved their object. By 1576 most of
the Lorrainers had abandoned their Surrey sites and were moving
away westward into Hampshire and later into Gloucestershire,
Cheshire and Shropshire.
A number of these late sixteenth- and early seventeenth-
century glass-house sites have been located and excavated.
Although the data recovered has been of varying quality, there
has been a marked consistency 111 the fragments of glass that
have bee n found. Notable among the luuls have been bases and
body fragments from ale-glasses similar to the I loncy Lane
examples. Fragments from a site at Sidney Wood in Surrey
belong to the same type group and were presumabl) the pro-
ducts of Lorrainers who refused 10 be driven out after Carres
death. Pottery evidence from this site suggests a continuation of
occupation lasting into the early seventeenth century.
It would naturally be more reasonable to assume that the
London glasses were the products of a comparatively local
Surrey sue than to see them as products of Woodchcster or any
other western furnace.
While the arrival ol (lane and his lorrainers is historically
260
Rim and lower bowl fragments from green ale-glasses
?corated with flute and lozenge moulding. The upper
agment from Woodchcster, height S.25 cms., the lower
om Honey Lane, height 5 cms.
5. Base of pale blue beaker with trailed thread decoration. Surviving height 6.25 cms.
From Honey Lane.
I ocumentcd, the nature of liis products is far less soundly estab-
shed. Certain techniques that are usually associated with his
len were, in fact, known and used in the Weald considerably
arlier. The use of wrythen decoration was employed on Flasks
nd urinals throughout the fifteenth century and may have been
sed even earlier. Similarly, the pressed-up foot was used to form
he bases for Wealden Hasks dating from the latter years of the
fifteenth century. It could, therefore, be argued that although the
le-glass shapes may have been influenced by the newcomers, the
echniques of manufacture were no mystery to the old established
.class-makers of the Weald.
The problem is complicated by the fact that in their journey
westward the Lorraincrs joined forces with other glass-makers
A'ho had emigrated from Flanders and Normandy. Furnaces
discovered in the Weald have all been ot a rectangular design and
io too have those in Hampshire. The Woodchcster furnace, on
the other hand, proved to be circular in plan. Mr. W. A. Thorpe,
in his book English Glass, expressed the opinion that the Wood-
chcster glass-house was not built by Lorraincrs as had been
supposed, but by a Flemish glass-maker from Antwerp. The
round furnace was a Venetian innovation that was adopted by
the Italian soda-glassmakcrs of Antwerp. T his centre produced
both Waldglas of the Woodchcster type and the tine quality soda
metal. But even if these factors point to Woodchcster as a
flemish establishment, the fact remains th f i' products were
\ ery similar to those discovered on the later Y\ len sites.
The fragments illustrated in No. 4 add .. scrap of
evidence. Both pieces belonged to ale-glasses decorated with
flute-and-lozengc mouldings, the upper fragment coming from
Woodchcster and the lower from the Honey Fane group. This
style ot decoration, along with the pressed-up foot, was used in the
manufacture of glasses produced in the glasshouse at Bcauwelz in
southern Belgium early in the sixteenth century. The flute-and-
lozcngc decoration is thought to have been of Venetian origin
and probably reached England via Antwerp late in the century.
It may therefore be significant that it is apparently absent from
the prc-Carre Surrey sites.
Although the Honey Fane pit included fragments from a
variety of glasswares ranging from bottles and flasks to Lothar-
ingian pruntcd rocmers and soda wine-glasses en /rtfo/j ac I arise,
only one other ale-glass fragment need be mentioned. I he vessel
is represented only by its base (No. s), but it is important 111 that
it exhibits another method of decoration the spiral trailed
thread. I he much decayed metal is of pale blue and ot poor
quality. The toot, which is made by the 'pressed-up method, is
more shallow than the other illustrated examples, and the vessel
is consequently better described as a beaker than a glass. It is a
poor and clumsy creation; but its presence is welcome 111 the
Honey Lane group, if only to enhance, by comparison, the finer
qualities ot its companions.
I am indebted to Guildhall Museum tor permission to illustrate
these important finds and to Mr. J. N. Taylor tor his mo-
generous assistance ami for allowing me to photograph mal
from Gloucester Museum.
161
Art at the United Nations
Headquarters
JOHN FITZMAURICE MILL'
T
[-IE vast monolith of the Secretariat Building rears itself
ibovc the waterfront of Last River as some latter-day
lower of Babel, yet one that has perhaps made more progress
than its ancestor. I he official guide-book of the United Nations
I leadquarters states that it is 'the nearest thing to a world capital
yet achieved by man', and 'stands right at the heart of one of the
largest, busiest and most animated cities in the world'. In many
ways it is .in unlikely site for such a meeting place, on one side
the looting, moaning, ceaseless rush of the river traffic on the
other the cacophony of down-town New York roaring to its
business.
The United Nations building has been discussed and written
up in practically every facet except that of the art that is con-
cerned with the building. Since the inauguration there have been
numerous gifts, some sixty in number, of works of art that range
from small pictures to huge murals, from delicate carvings t«
works of antiquity. Some works have been given by philani
thropic individuals, others by countries, some perhaps to inflat1
an ego, but mostly they are works of art of considerable qualitj
and they have -been sited throughout the buildings, both insid<
and out, with skill ami foresight.
Art is still the only truly international language, and here, ii
the vortex of this centre w here multi-lingual difficulties are onb
partly eased by instantaneous translation, these paintings am
pieces of sculpture have a role of unusual importance to fill
When passing through the assembly rooms and the other place
open to the public, with a party which normally will consist o
many different peoples, as each work of art is approached th
words of the guide seem almost banal as they are repeated
possibly for the hundredth or more time. The painting or piec
I. The United Nations Secretariat Building forms the background to 'Let 2. One of the two 'War' and 'Peace' murals by the Brazilian painte
us beat swords into ploughshares' by the Russian sculptor Evgeniv Candido Portinari.
Vuchetich.
262
263
of sculpture is quite capable of speaking for itself, and as each
group pauses by the individual work there is .1 moment of under-
standing, of mutual appreciation, or even of mutual perplexity at
a particularly advanced or intricate statement by an artist.
The first Secretary-General of the United Nations, Day;
Hammarskjold, deeply conscious as he was of the frustrations of
misunderstanding, must also have been deeply conscious of how
the language of art could bridge this dangerous hiatus in man's
communication. In the recent book by the late Secretary, he
wrote: 'Giving and receiving sympathy : his kindness is undoubt-
edly genuine in so tar that it is a symptom of a congenital tend-
ency to till his life w ith the contents of other people's.' It is this
filling of one's lite w ith the contents of other people's that can be
embarked 11(1011 in such a place ami assisted by these works from
many sources; tor surely there is no art gallery or museum 111 the
world which could duplicate the highly charged atmosphere ot
the corridors and rooms of the Headquarters.
The entrance to the mam buildings from the roadway is a
flapping rainbow ot national Hags paraded on glittering white
masts. The facade of the Secretariat Building rises as a vast
glittering mirror reflecting the New York spires and towers. In
front of it, there is a large circular pool, and here was the site
which was chosen for the memorial to Dag Hammarskjold. Few-
artists can have had a more challenging background against
which to work — the one who was finally singled out was the
English sculptor Dame Barbara Hepworth, and nobly she ful-
filled the commission. Eschewing safe cliches, which might have
tempted a lesser spirit, and inspired by her knowledge and
understanding ot I )ag Hammarskjold she produced an answer
that was simple, but carried with it a deep symbolism. A single
form, cast in bronze, that more than makes itself felt against its
towering background. In contrast to this single form by Hep-
worth in the forecourt, is the piece of sculpture by the American
artist Ezio Martinelli, which is placed high on the wall of the
General Assembly building overlooking the rose garden. It i>
some thirty feet long by seventeen feet high, carried out in gold-
and-bronze-coloured anodized aluminium. Other notable piece
of sculpture include a bronze work by Robert Cronbach
which stands opposite the entrance to the Meditation Room, ir
the public lobby of the General Assembly building; a polishec
bronze bas-relief by (ose tie Rivera, which was placed in Da£
Hammarskjold's office; a gift from the Soviet Union, which is :
larger than life statue by Evgeniv Vuchetich entitled 'Let us beai
swords into ploughshares' and which stands in the north area o:
the garden of the Headquarters; and a gift from the government
of Yugoslavia, a sixteen-foot-high bronze of an equestrian figure
the w ork of Aimm Augustincic.
One of the most impressive and moving murals is that carriec
out by Jose Vela Zanetti, a Spanish painter. The theme of thi:
painting, which is twenty yards long and nearly four yards high
is of mankind's struggle for lasting peace. It begins with the
destruction of a family and ends with its resurrection. The artis
has drawn heavily upon elongation and dramatic light effects, anc
emphasized anatomy. Again, as with the problem tor the artist:
placing sculpture or works outside the building, there is a danger
a temptation to fall back into mere statement, statement whicl
can be overloaded w ith symbolism and sentimentality. This is ;
strange backcloth against which the artist must work, and i
would be so simple for a subject such as that handled by Zanctt
to fall back into a mere banal repetition of themes already over-
5. Belgian tapestry designed by Peter Coifs, its 6. The Penthouse Lounge, Dag Hammarskjold Library, with a mural 'Composition for a concavi
predominantly green colour being the universal wall' by the Swedish artist Bo Beskow.
symbol of life and the traditional colour of
peace.
EPF
r ■
J. Anodizcd aluminium sculpture by the United States artist Ezio Mar- K. Bronze sculpture by Robert Cronbach of the United States inside the
tinelli on the wall of the General Assembly Building. public lobby of the General Assembly Building.
265
played, but the painter overcomes these false trails, and his treat-
ment is powerful and sustained.
In the delegates' lobby in the Geneial Assembly building there
have been mounted two murals by the Brazilian painter Candido
Portinari. Both of them arc thirty-four feet wide and forty-six
feet high and were the gift of the Brazilian Government. One of
the murals shows War- the other Peace. Both are highly
accomplished works in that the artist has had to achieve bis effect
in an area which docs not fully allow tor the correct viewing ot
■ i, b\ skilful grouping
ill is a
i tapestr \ v. Inch was pre-
sented to the United. Nations as "an expression ot the profound
attachment of the Belgian people to the ideals and w orks of the
nisation'. the tapestn measures just over
i oik ot the largest
ever woven. It was the work ot fourteen Belgian artist craftsmen
who put together ninety-four thousand miles ot yarn to create it.
I he actual design was by the Antwerp artist Peter Coifs. In the
centre of the design, the dove of peace approaches the fountain of
goodwill. The borders show views ot the chief cities ot member
countries of the United Nations. The predominant colour is
green, the universal symbol ot lite and living things, and the
Mounted on a wall |iisr inside the entrance to the Delegates
North I ounge is a mosaic pavement that dates back to the third
i disc* >vcrcd in
the winter ot 1939-40 at Haidra, Tunisia. The young boy in
the centre ot the composition represents the spirit ot the year, and
: . if w he it in his hands.
11. Equestrian figure symbolizing 'Peace' b) the Yugoslavian sculptor
Antuti Augustincic.
cupid, a pair of birds and seasonal plants.
In the south-eastern section of the lobby of the Secretaria
Building, facing the East River, there is a memorial to Dai'
I lammarskjold and his fifteen companions who died with him ii
the plane crash ot 1961 at Ndola, Northern Rhodesia. This is r|
superb, stained glass panel by the French artist Marc Chagall. The
commissioning was made possible by a sum of 17,000 dollar
that was donated in response to an appeal launched soon after thi
tragic accident. Chagall here has proved himself truly as one o:
the great stained glass artists of today. He has made full use of the
mystic light and colour that can be achieved with this medium. The
panel, which is about fifteen feet wide and twelve feet high, has a
contained unity and emanates a harmony and poetical quality
which seeps into the mind as it is studied.
Scandinavia, the homeland of the late Secretary-General, is
represented by, amongst other artists, the Swedish painter Be
Beskow. He has two principal works here, one a large mural
entitled 'Composition for a Concave Wall' which covers an area
ot two thousand square feet in the Penthouse Lounge, and the
strangely moving fresco in the Meditation Room. I he latter h
placet! slightlv in advance ot the tar wall, and stands behind the
huge, squared oft chunk of iron ore. ot which the late Das
Hammarskjold said in his introductory leaflet to the Meditation
Room: 'The stone in the middle ot the room reminds us also ol
the firm and permanent in a world ot movement and change
The block ot iron ore has the weight and soliditv ot the ever-
lasting. It is a reminder ot that cornerstone ot endurance anc
faith on which all human endeavour must be based.'
•■ tuu nti( ill anniversary ■ tin
I niversal Declination of Human Rights.
12. Bronze sculpture 'Single Form' by Barbara Hepworth of Britain dedi-
cated to the memory of Dag Hammarskjold.
Textiles for American
museums
REPRESENTATI VESof leading American museums arc con-
stantly in London in search of fine and rare examples of early
[ English textiles. The three subjects here illustrated are an indica-
tion of the current American demand and have been acquired by
the museums concerned. At left below this exceptional ( leorgc
(II needlework carpet, c 1750, embroidered in cross-stitch on
canvas on a yellow ground (S tt. 9 in. ■ <i tt. s in.), has ^onc to
Colonial Williamsburg, Virginia. At right below is seen one of a
pair of panels of carly-cighteenth-centiiry crewclwork embroid-
ery composed of polychrome wools on linen (7S ■ so in.) which
has joined the collections at Deerfield Institute, Massachusetts.
Dcerficld has also acquired a rare Elizabethan pillow here com-
posed of flowers and insects in polychrome silks embroidered in
fine tent stitch on white linen in yellows, reds, greens and blues
and with gold and silver thread. At bottom is an exceptionally
rare Swiss marriage panel (4 tt. 9 in. • a ft. 7.I in.), embroidered in
coloured wools, silks, gold and silver threads and dated 1610,
which can now be seen 111 the Boston Museum 0) Fine Arts , Massa-
chusetts. All pictures reproduced by courtesy of Mayorcas Ltd.,
3S Jcrmyn Street, London S.W.i.
267
The American way with art
JOSEPH T. BUTLER, American Editor of The Connoisseur
i. John Durand. Children of Garret and Helena
/)<• Hyse Rapalje. Oil on canvas, c. 176S. The
New-York Historical Society.
RECENTLY there has been .1 great up-
surge ol interest in American painting on
the part of collectors, museums, and the public
in general. This interest has seen considerable in-
creases in price tor American pictures — especially
those of the Hudson River School during .the
past year. Reappraisal on the part of art histor-
ians lias revealed that American painting has a
unique national quality even though it is often
derivative of European prototypes. In addition,
painters have migrated to this country from
every part ol the world bringing with them
their ow n traditions and native genius. This has
given a great stimulation to the arts rarely seen
in any other country. Because of this interest it
seems only natural that this last article of the year
should be devoted entirely to an examination of
several aspects ol art in the United States as well
as the discovery of the art ol the Eskimos 111
i ianada.
An important New Installation at The
New- York Historical Society
I I II collection ol paintings relating to American
history at the New -York Historical Society is
generally regarded as one ot the most important.
Now these pictures have been installed 111 a
magnificent new gallerv on the Soctctv's fourth
floor. The background and brilliance of lighting
effects make this .1 mccca tor those w ho w ish to
see American pictures ol the highest quality. In
addition to the pictures a few carefully selected
pieces of American furniture are used 111 the
galleries. Their superb quality adds much to tht
overall enjoyment of the paintings.
The American portraits, which are arranged ii
chronological sequence, date in time from the
early C olonial period through the mid-nine-
teenth century. Included is the only known oil o!
New Amsterdam Governor Peter Stuyvesant
painted from life, as w ell as an excellent sampling
of the early eighteenth-century portrait:
painted by limners m the 1 ludson River Vallev
which are toda\ known as 'patroon pictures'
Rembrandt I'cale's famous study of Thoma!
Jefferson painted 111 1 805 is to be seen as well a
the 'S 10.00 bill' portrait of Alexander Hamiltoi
by |ohn [Yumbull.
As I stated in the introduction above, nine-
teenth-century landscapes are of great import-
ance 111 their present reappraisal. There is ai
admirable selection ol these all beautifully
1 leaned and lighted and well defining tin
original intent of the painters. I ludson Rive:
painters such as Asher 13. Durand, Georgt
Inness, |ohn F. Kensett and Thomas Cole an
included. One of the dramatic highlights i
C ole's series, '( loursc of Empire', which occupic
one complete wall. Magnificent canvases lw
Albert Bicrstadi and Frederic E. Church shov
the full development of romantic America!
landscape painting.
Another group which gives a keen insight inti
everyday American lite during the nineteentl
century is genre. Siuh masters 111 this idiom a
William S Mount, Eastman Johnson, brand
W. Edmonds, George Durric and A. F. Tait an
z. Charles Wilson Pcalc. Peale Family Group. Oil on canvas. The New-York
Historical Soeietv.
?. William S. Mount. Bargaining for .< Horse. Oil on canvas. The New-Yort
Historical Society.
v
\. Ezra Ames. Portrait of Gouvernor Morris. Oil
on canvas. Tlic New-York Historical Society.
shown through excellent works. In all, this is
one ot the most exciting permanent exhibitions
which can he seen in New York City at this time.
It is a testimony to the use ot modern display
techniques to enhance a setting tor paintings.
The American Artist Abroad
FOR many years Kennedy Galleries in New
York City (founded in 1X74) has done much to
promote the cause ot American art. Their large
retrospective exhibitions ol the work ot single
artists as well as survey shows have presented a
high calibre ot material. It is a show ot the latter
type which Kennedy presented this past tall. It
was made up completely of nineteenth- and
5. Thomas Cole. Course of Empire-' Desolation'. Oil on canvas. The New-York Historical Society.
twentieth-century works painted by American
artists working abroad.
It is well known that thousands of American
artists have gone abroad during the past two
hundred years, some for brief periods; others as
expatriates. While it was often the opportunity
to see. sketch and paint gardens ot one type or
other, it was also the desire to meet others with a
different artistic point of view and to develop a
new way of lite which caused the artist to travel.
It was Paris, London, Rome and Munich which
were the principal cities which magnetized the
American artist. Runic drew many nineteenth-
ccntur) artists who wished to see the gre.it
works ot the Middle Aijcs and Renaissance.
At the end ot" the century, American artists
became tar more adventurous. They travelled to
Egypt, Syria, Central America and the South
Seas and the result ot the impact ot these more
exotic cultures was seen 111 this exhibition.
Twentieth-century artists continued to respond
to the impact ol travel and this is represented
with works done abroad by Peter Bluinc, (ohn
Mann, Constance Richardson and Hen Shahn.
This fascinating exhibition contained about 40
works, primarily paintings, ol which 30 were
landscapes. Chronologically as well as geo-
graphically the show covered the years from
1 Nio to the present as well as w ide ranging areas
of the world.
6. James A. McN. Whistler. Archway, Venice.
Pastel. Kennedy Galleries, New York.
7. Sandford R. Gilford. Lake Como. Oil on paper. Kennedy Galleries, New York.
269
y. Edward Hopper. Barber Shop. Oil on canvas, 1931. The Roy R. Ncuberger
Collection.
X. Charles Dcmuth. Vaudeville. Pencil and watcrcolour on paper, c. 1915.
The Roy R. Neuberger Collection.
An American Collection: The Rov R.
Ncuberger Collection
I I 1 1 enormous si/c ol the collection ol twen-
ticth-ccntury American .hi lormed by Roy l(
Ncuberger is almost staggering. A splendid and
definitive catalogue ol the collection has been
prepared which records 4N.2 entries. A selection
ol 100 items Iroin the collection \\ .is seen tins
past year, first in Providence, Rhode Island al the
Rhode Islam! School of I >csign and Brown
University and then al the Smithsonian ln-
si 11 111 11 m's National t ollection nl fine Ails in
Washington, I >.( '.
Mi . Ncuberger is a Wall Street financier and
lormci presideni ol both the friends ol the
Whitney Museum in New York ( 'ity and ol the
American federal 1 >l Arts, who has been buy-
ing contemporary art lor _i|J years. Over the
years the 1 ollection grew to span a century ol
Aim in in art, although its emphasis remained
mi 1 oiitemporary work. There is a strong em-
phasis cm the works ol two .uiisis, Milton Avery
(iXoj and Louis I alshcmius (1X64-1041).
Mi Ncubergei lias called Avery 'one ol t In-
most I nam 1 1 nl artists ol Ins nine'. The collector
did noi become a convert to the work ol the
cttciitrit I ilshemius immediately, However,
when In did, ovei 100 paintings b\ the artist
Miicresiing tint in addition to work l>v
mail) 1 1 1.1 1< >i t wcntieth-i cntiiry American
hi 1st s su, I, 1, M n ,d< n I larlley, Willem d<
Kooning, Edward I lopper and fickson I'ollock,
tin exhibition ranges b.nk in time to unhide
examples ol tin- paintings ol Thomas Cole,
film Quidor, Maurice Rrcndergast, and Albert
Bicrstadt. These nineteenth- ami early twen-
tieth-century maste rs I on 11 a bat kgrouud lor the
more recent works in the exhibition. Mr. Roy I
Ncuberger has surely lormed one ol the most
exceptional collections ol American con tempor-
al V ai t .
The Work of John I). Graham
|( )l IN I >. ( ;RAI 1AM, who died 111 1061, was
born Kan Dabrowsky in Kiev in the Ukraine.
During the course ol Ins lite In- was to remain
enigmatic, much ol n sill created. Hie date ol
Ins birth is not known though In- was in his
thirties when In- came to tin- I 'mud States in
1 9—' 1 and hist began to study painting at the Ait
Students League. Soon Ins work w as recognised,
and he had one-man shows in I'. ins in mk'S and
1929, and 111 the latter year he was exhibited in
Washington, I >.( '.. and New York City.
I lis work is still not well know n to the general
pubhi , but < hah. 1111 was wi ll known to the New
York ail world ol the io's through his activities
as both collector and artist, lie knew sin h 1111-
portant giants ol American modern arl as
Sin. ill I 'avis, Aislnle Corky, Willem de
Kooning ami I >avid Smith : I le was also 1 ham-
pion ol primitive art and ol the Freudian
pi 1111 1 pie ol 1 he role ol t he line onse ions mind on
tin- creative process. In 1937, he published
System ami Dialectics Arl which summed up
Ins philosophy.
During the 1940's Graham created .1 rciutcr-
pretation ol the Renaissance sty le based on pro-
totypes such as Raphael and Leonardo, l ie was
interested 111 c rearing tension in the moods ol the
large seated women which characterize this
period ol his development.
Beginning probably in the early 50's Graham
made oil drawings by painting on the reverse ol
tracing paper, while drawing the image on the
1 1 out . The use ol ti ,n ing paper gives a shimmer-
ing quality because it softens the garish bright
i olours w hit li are e harat teristic ol ( Iraham. I lis
spiritual preoccupations are highly evident in
these drawings— astrological symbols surround
the figures, ami some ol the images may have
reference to alchemy. A system ol squares ami
rectangles, referring to the 'golden section', is
often superimposed on the faces. Because of the
diverse sources ol these occult signs, it is difficult
to ascribe any definite metaphysical meaning to
these pn lure s.
An illuminating exhibition ol 27 drawings
and paintings by |ohu I ). (wall. 1111 was shown
this fall at the Museum of Modern Art. It was
organized by Miss Eila Kokkinen, Assistant
( lurator foi I >rawings at the Muse inn. Alte r its
initial New York showing, the exhibition is
being circulated throughout the United States
and Canada by the- Museum's Dcpartmcnl ol
( miilating Exhibitions. The show should do
mm h lo make the general art public aware ol a
figure who should take a inoie- important pi. lee-
Ill the development ol tWCIltieth-CCntUry art 111
this 1 ounti \ .
V
\
10. John D. Graham. Head of a Woman. Oil, chalk, hall point pen,
coloured pencil, pencil, brush, pen and ink on tracing paper, 1954. Mr.
and Mrs. Harris li. Steinberg, New York.
11. John D. Graham. Study for ' l ira Sisters'. Crayon,' wash, pencil and
brush on tracing paper, c. 1944-45. Mr. Mrs. Max Granick, New York.
Eskimo Art of Cape Dorset
['HI-. N.ition.il Gallery of Canada in coopera-
tion with Canadian governmental agencies has
done much to encourage the artistic endeavours
of the Eskimos of Cape Dorset on West Baffin
Island. The Eskimos have a traditional history as
carvers but the first prints were made at C 'ape
Dorset in 1957.
The Eskimos live close to nature and their
surroundings are beautiful. Lite is carried on
much as it was hundreds ot years ago although
there are new influences — school, imported
food, clothing, and films, and the cooperative
store. Snowhouses have been replaced by frame
dwellings and the outboard motor is more
efficient than the kayak.
Although these influences cannot help but be
reflected in the sculpture, prints, and textiles
produced by these people, there is still a hieratic,
primitive style which permeates all ol the work.
A natural tradition is thus channelled into art
lonns which remain exciting and refreshing.
The Eskimo art of Cape Dorset has been
shown extensively in Canada and the United
States as well as in 10 major European cities. The
National Gallery is providing a service of rc-
vitilization which should be applauded on the
highest level.
National Gallery of Canada.
27\
The Connoisseur Index to Advertisers
Acquavella ( Iallcrics
Adams, I )avidson i\ ( Co. Im
Ad. mis Ltd., Norman
Andradc, R. X A.
Antique I lyperniarkci
Antiques Yearbook
Arpad Antiques
Asian ( lallery
Asprey X C Co.
B.A.I >.A.
Baldv\ id < lailcry
Barling of Mount Street
Batsford, B. T.
Beanies' Salerooms
Beaucliamp < Iallcrics
Berry-] lill ( Iallcrics
Bcshar's
Bi-^s of Maidenhead
Bivall, Bernard
Black ( lallcrj . Bernard
Bluett X Son
Bohler, |ulius
Box No'. 74,7
Box No. 74 ?n
Bra< her d\ S\ denham
Bi ( iw n. Kenneth
Brown, Peter Mack
Burge, C :. 1'.
Bumc, VV. ( ,. I .
c Caledonian, hu .
C Carriage I r.uk'. I he
' C '.isscll & Co.
( ei l.i. I laudinc
i hapcllicr ( lallci ies
c Christie's
C Clargcs ( lallcrj
c Clayton, VV.
( Clossons
C Collet's
C Connoisseur Art Sales Index
( onnoisseur Books
C Connoisseur Next Month
C Connoisseur Register
C onnoisscui Suhsi riptions
C Corinthian Suulios
( Crane Arts I td.
C Crispin
C Crovvthcr X Son, T.
I lalva Bros.
I >avis, C Cct il
I >clonn »sne X Si m
I >olphin Antiques
I >ombcy, I'. t\ B.
I >rian ( Iallcrics
I >U!1( .111. I'llllip
I arrington, R A.
I edder, In. . I < lice
I ernandes ,\ M.n i he
I ircstonc X I'.irsi >i i
I oyle's An ( lallery
I oyle's (Books)
I rodsham, c harles X ( Co.
I ry ( lallery
XI
I XXX
Inside ba< k cover
XX
I XVI
XXIV
XC IV
X( V
XXXV
XXXIV
I VIII
XVII
- s-
I X
LIV
X( CIV
I XXXIV
XVIII
XXXIII
I X X X V
XXIII
XVI
XXXVI
LXIV
I X X V I
X( II
xcv
I XXII
LVI
1 XXXVII
I XXXII
- s I
I XV
I IX
Inside I rout u ivcr
XVI
V II
Xc
LXIV
X
I XXII
IV
I X VI 1 1
XXVI
I X X X I
I XIV
I XVI
XIX
V
I XII
I
I II
I XXII
I XIV
I XXV
I XII
Xl II
I XII
I XXXII
I X X I V
I XII
I XXII
I XIV
Fu-Ming-Fair
( lander X Whin-
( larrard X ( n. Ltd.
( larratt, Edward
( Irabowski ( lallci y
( Irccn, Ru hard
( Ircgory X ( Co. I til.
1 [aim's
I [all, Michael
Hammer Galleries
1 lartford, I louse of
1 Jarvcy X ( lore
I Icadley Museum
Heim
I lihon ( lallery
I lirschl X Adlcr
I lolborn I ablewarc ( Co.
I lowell, Josephine
I lotspur
Imperial Jade Mining, Inc.
[ac i >l>s, I leni \
Jacobscn, C Charles W.
lercniy Ltd.
Jcssop Ltd., I I. R.
John, C.
lohnson, c ). c\ I'.
Juel, Vita
|llll. Ill
K.i\ c Ltd., Simon
Kennedy ( Iallcrics
Kcshishian, Mark
King X C Chascmorc
Knoedlcr, M. X ( Co. I td.
Koctscr < lallery, I >avid M.
Kugel
Lapicc irclla, Leonardo
I ec, Ronald A.
Lefevrc ( lallery
Lcgci ( Iallcrics
I esieui i i
Lcttner's
Lcvene, M. I'.
Linolitc
I iros ( lallery
I ondon Shop, rhe
I < >k in cm, ( lalcric
I o\\ i' X Sons, c Charles
M.u null. in
M.illctt
M.i 1 le t t .it Bourdon I louse
Manhcim, I ). M. i\ I'.
Markarian, R. R.
Mayfair Antique Market, Shop io
M.l\ ol. .IS I 1,1.
Miller, Nita
Ncilson, Me\ ru k
New Bond Streel < Iallcrics
New house ( lallci ics
Newman I td , M.
( Vdcti, Ru haul
I XXXII
LX
XXI, LXIV
XC VI
LXIV
XIII
XLIV
XLIV
L.XXXVII
VI
XXVIII
XLIX
I XX
I XXI
LXXlI
III
LXIV
L.XXXVIII
XXVII
Old Clock House, The
Old Masters ( lallery
Omell Galleries
Omell, N. R.
O'Nians, Hal
Orsi, Alessandro
Barker ( lallery
Partridge t\ Sons, Frank
Paterson, C harles ( :.
Reel X Co. Ltd., I ) avid
l'erez
Phillips Ltd., S. J.
Phillips & Harris
Porter, R. E.
Pratt, Stanley f.
Preston Ltd., Rupert
Prestons Ltd.
Price (lallery, Vincent
Prides of London
Pulitzer Gallery
XL
L
LXI\
LXXI>
LXI\
LV
LX\
XCI1
XCI\
XI
LXXVII
X\
LXXVII
LXXI
Outside back cove
LXI\
L\
XC
XIV
LXIX
Rasmussen, Arnc Bruun
XL
Rijcke, J. L. de
LXXIV
LXXVI
Rondina, |oscph
XC
I XXXIV
Rowlands Antiques
LXXXIV
VIII-1X
LXXII
Sabin ( Iallcrics
1 III I Yl\/
L 1 1 1 , LAI ¥
LXXIII
Saccrdoti Ldiuondo
V V 1
A A 1
LX VII
Sears, Vincent Price Gallery
XC
Lll
Schindlcr s Antu|tie Shop
Xc IV
LX
S li IW'i" 1 Kl '
LXXII
Shruhsole I r,l SI
.Jill iimMi, 1— id., . j . 1.
(ill
XXII
Sl Vi'vliT & Xr\nc A
.III VI Ml 1 l\ .Jl'lls, J \ . 1 .
1 \ v l ;
1 A A 1 1
L X X XVIII
Sladmorc Gallery
XXXVli
L.X.XXIX
Sothcby s
V / M / 1 1 1 / 'II
Xc VIII c II
1 XXVI
Soilllimi F* It
. i\ iiiii. iiiii, i,, ij.
t YVll
LA Alt
LIV
Snirks l< \ l m 1 i- . ^
. ' Ual ri s , 1 1 i u [ LIU.
AC V It
XLvni
Spcclman, L.dward
1 VIII
LAl V
. \ L V 11
Spencer X Sons, I lenry
XLVI
Spink c\ Son Ltd
t mv
C - 1 V
XXX
Stair X C Co. Ltd.
LXIII
LXXVII
Strassel C Co., The
X(C
1 VII
Studio International
XXXII
XXXI
Stissel, Eugene
1 XXXVI
LXXII
1 XXXVI
Tcrry-Engcll ( lallery
LXXII
XXV
1 XXXIV
Tillman, Alan
LXXII
1 XXXVIII
Tillman, W. F.
LXXII
L VIII
Try on C lallery
XLVI, LXIV
XXXIX
1 VI
Vandckar, J. i\ E. I ).
XXVIII
Vigo-Stcrnbcrg ( Iallcrics
LXI
- S-
XXXVII
Vose ( Iallcrics of Boston
1 XXXVI
xc vi
I
Wakefield-Sccarcc ( Iallcrics
XCI
Xc
Wall) 1 . Cilleries
XXXVIII
1 XXIV
Walter (Antiques) 1 td., William
XVIIli
XXIX
Ward. Lock X C Co. 1 td.
xxxl
LXIV
Wartski I td.
XI V
Wcllby, 1 1. S.
XXIV
X
Wiener, 1 )oris
LXXXIX
1 XVIII
Wine Antiques
Xl II
1 XXXIII
Wine Ltd., I ouis
XII
XIII, XI III
Woollen ,\ Son. C harles
XX
Wren ( lallery
XLVI
XI VI
Wre\ 1 Id., 1 >cn\s
XX
I 'tinted in i lieu lirititin by ////.>/ on
II »; / >,i ii hi/ Subscription Service, I
ii^enls, ( .onion .' Cotih / /,/ ). //,,.,.,
( omlition . ol Sole ,m,l Supply 7 /,/
hired out oi otherwise disposed ol l<y
i omlition oi m any nnantlioi i ed corei by way oj I'radi
(Bolton) I united, Bolton ami I ondon Illustrations engraved by I ngravers ' mild I id . Curator Streel, I on. Ion. / ( .' .,. Agents in ( anada. The
i,l Sole agents lot Inslralia and New /.calami, < '.ordon ; < lotch { Uistralasia) I id. ; agents foi South Alma. Central News Agency I td. (London
ibolhain ! Co. in Bombay and Calcutta
periodical is *,./,/ subject to the following landmen-, that n shall not. without the written consent of the publishers first given, he hut, resold,
way ,./ Trade except ai the lull retail price oj us Od. and that it shall not he lent. /,•>,,/,/. /„„■,/ ,.„/ ,„ otherwise disposed o) in a mutilated
alined toot part ol any piibliuilion oi advertising, literary oi pictorial mailer whatsoever.
3HB
wmmmmmammmmm
! \S1 rare and charming early Sheraton open bookcase
, in mellow satinwood. Circa 1785.
Length: 34 inches
Depth: 12 inches
Height: 34 inches
8-10 HANS ROAD. KNIGHTSBRIDGE, LONDON, S . W ; 3§
T.,.,»..... .,-,» ,»«/,
Alembers of The British Antique Dealers Association
Mr. Norman Adams will be pleased, by appointment, to discuss and advise on investment or other matters relating to
antiques and works of art. ^&>'<
STANLEY J. PRATT
LIMITED
27 MOUNT STREET, LONDON W.l
W1Y 5RB
GROsvenor 1747/8
01-499 1747
A George II Virginia Walnut Writing Tabic. Length 45 inches: depth 27 inches.
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